Each production has the discretion to offer as many discounted tickets as it wants, or none.
Each production has two directors – one for the theatre, the other for broadcast – and involves live vision-mixing (not easy in the cramped Traverse) and painstaking synchronisation with the satellite feed ("only £750 an hour," Boyd beams; apparently that's cheap).
Each production has revealed different elements of the play, some darker, some lighter, but always with a sense of intrigue, as the characters become conspirators in their own defeat.
As it happens, all five shows have received mixed to negative reviews from critics, though each production has been selling tickets at a good (or very good) clip so far.
Not all of Garland's film work has enjoyed the same success as 28 Days Later – Sunshine, Never Let Me Go and Dredd (which he adapted for screen from the comic strip) were well-received but all lost money – and each production has provided valuable lessons for Ex Machina.
The application process is rigorous, so as to ensure each production has solid financial backing and stipulated in-state spending, employment, filming locations and other key logistical information.
