Leading the digital revolution in theatre

Emma Keith (MA Digital Culture and Technology, 2010) has led groundbreaking digital initiatives at the National Theatre, including the successful launch of NT at Home and the National Theatre Collection during the pandemic.

Emma Keith is pictured smiling whilst sat in the Bush House Quad.

As Managing Director of Digital at the National Theatre, Emma was at the forefront of innovative projects that brought the magic of theatre to homes, cinemas and schools around the world. Emma’s work continues to inspire and influence the future of theatre and digital media.

Today, Emma is on a career break and plans to work freelance supporting arts and cultural organisations. In her spare time, she contributes to the King’s Alumni Advisory Board and serves as a trustee at One Dance UK.

Join us as we chat with Emma about her career and leadership reflections.

As Managing Director of Digital at the National Theatre, Emma was at the forefront of innovative projects that brought the magic of theatre to homes, cinemas and schools around the world. Emma’s work continues to inspire and influence the future of theatre and digital media.

Today, Emma is on a career break and plans to work freelance supporting arts and cultural organisations. In her spare time, she contributes to the King’s Alumni Advisory Board and serves as a trustee at One Dance UK.

Join us as we chat with Emma about her career and leadership reflections.

Can you share some highlights or memorable moments from your 15-year career at the National Theatre?

‘During the pandemic, we launched the NT at Home pilot. On the first day about 200,000 people tuned in live, and nearly two million people watched it over the course of a week – the equivalent of two years’ worth of audiences for the National Theatre on Southbank!

‘I remember thinking, "I can't believe we're pulling this off." It was a matter of weeks between getting approval from the board, investing money at a time when we didn't have money coming in, and launching. It was a massive learning curve, but I loved it because it was hugely rewarding to see the organisation galvanise behind something new and groundbreaking.

‘One story that stands out is from a woman who contacted us after seeing her daughter in the audience of one of our shows. Her daughter had since passed away, but the mother was so pleased to see her daughter again, laughing and enjoying herself. The audience and the impact we had on them were always the inspiration for me.’

A video camera in focus on a theatre set, filming Benedict Cumberbatch, who is blurred in the background.

Picture taken by Ludovic des Cognets

Can you share some highlights or memorable moments from your 15-year career at the National Theatre?

‘During the pandemic, we launched the NT at Home pilot. On the first day about 200,000 people tuned in live, and nearly two million people watched it over the course of a week – the equivalent of two years’ worth of audiences for the National Theatre on Southbank!

‘I remember thinking, "I can't believe we're pulling this off." It was a matter of weeks between getting approval from the board, investing money at a time when we didn't have money coming in, and launching. It was a massive learning curve, but I loved it because it was hugely rewarding to see the organisation galvanise behind something new and groundbreaking.

‘One story that stands out is from a woman who contacted us after seeing her daughter in the audience of one of our shows. Her daughter had since passed away, but the mother was so pleased to see her daughter again, laughing and enjoying herself. The audience and the impact we had on them were always the inspiration for me.’

Picture taken by Ludovic des Cognets

The National Theatre Collection has made theatre accessible to over 85 per cent of state secondary schools in the UK. What impact have you seen so far?

‘I led the team that did National Theatre Collections. It was a passion project for me. The ability for young people to engage with the arts is crucial.

‘Initially, we had three-year project funding to make some shows available to schools. But we needed to expand the range and make it relevant to the syllabus. That's where the idea of the collection came from. It's free in the UK for state schools and paid for by Further and Higher Education institutions, and those outside the UK. This business model allows the commercial income to underwrite the cost of making it freely accessible. It's sustainable and scalable for the National Theatre, allowing us to commit to it for the next 10, 15, 20 years.

‘The arts and cultural sector always faces the challenge of not having enough money to do everything we want. Developing innovative business models and ways to finance the mission, reach, and impact, while bringing commercial opportunities, is crucial.’

So, what's next for you?

‘I'll be working freelance, looking at how I can support other arts and cultural organisations to engage with their audiences, develop new business models, and generate revenue.

‘I'm having some coaching with a specific focus on career transition, looking at what it feels like moving from an institution to a more freelance or contract capacity. It's a very different perspective from a role where I had a huge amount of freedom, but there were also certain things that had to be delivered and a rhythm to the organisation.

‘Sometimes it's a bit terrifying, but equally, it's quite energising and exciting to think about a really different way of working in the future.’

The National Theatre Collection has made theatre accessible to over 85 per cent of state secondary schools in the UK. What impact have you seen so far?

‘I led the team that did National Theatre Collections. It was a passion project for me. The ability for young people to engage with the arts is crucial.

‘Initially, we had three-year project funding to make some shows available to schools. But we needed to expand the range and make it relevant to the syllabus. That's where the idea of the collection came from. It's free in the UK for state schools and paid for by Further and Higher Education institutions, and those outside the UK. This business model allows the commercial income to underwrite the cost of making it freely accessible. It's sustainable and scalable for the National Theatre, allowing us to commit to it for the next 10, 15, 20 years.

‘The arts and cultural sector always faces the challenge of not having enough money to do everything we want. Developing innovative business models and ways to finance the mission, reach, and impact, while bringing commercial opportunities, is crucial.’

So, what's next for you?

‘I'll be working freelance, looking at how I can support other arts and cultural organisations to engage with their audiences, develop new business models, and generate revenue.

‘I'm having some coaching with a specific focus on career transition, looking at what it feels like moving from an institution to a more freelance or contract capacity. It's a very different perspective from a role where I had a huge amount of freedom, but there were also certain things that had to be delivered and a rhythm to the organisation.

‘Sometimes it's a bit terrifying, but equally, it's quite energising and exciting to think about a really different way of working in the future.’

Emma stands smiling on a sunny day, leaning against a stone wall.

Emma leans against a wall at Bush House looking off into the distance.

What does leadership mean to you?

‘I've led a team and projects, but I'm probably a bit self-deprecating. If I were to describe myself, I probably wouldn't choose "leader". I think that's a good quality because so much of what you do in a leadership position is not about you. It's about the people and providing the context and space for them to do their best work and make things happen.’

What is your leadership style?

‘I have quite high expectations of myself and the people I work with. I'm constantly on the lookout for new projects and ways to make things better. I'm a bit of a risk-taker from that perspective. But it has enabled the teams I've led to do things they've never done before, and launch initiatives that people thought would never work.

‘I like to have fun and am proud of the team I built. I look for people who care about what they do. I loved championing my team and seeing them grow, flourish, and take on more responsibility. My leadership style is very supportive.’

What do you treasure most about your time at King's?

‘I did my MA in Digital Culture and Technology in 2008. This was pre-Instagram; Myspace was the dominant social channel, and there was no Snapchat. Digital was really embryonic at that stage. There was a real breadth to what I learned during my time here, especially being at the cutting edge of technology at the time. This stood me in good stead for the future, thinking about how technology can support people engaging with the arts and culture.

‘Studying at King’s gave me the confidence to apply for a job I might not have applied for otherwise because even though I didn’t have experience, I had academic knowledge and understanding.’

'Unexpected, innovative, and impactful.'

- Emma Keith on the three words that describe her career journey so far.

You've been an active member of the King’s Alumni Advisory Board. What motivates you to stay in touch and keep giving back to King’s?

‘I was one of the first people in my family to go to university. My mum grew up in a council house and worked hard to give me opportunities she never had. I want to give the next generation opportunities I might never have had. Being part of the university in any way helps encourage that.

‘We are spokespeople for the university, highlighting its fantastic work and the amazing things it's doing. I want to be an active member of the world we live in. Theatre is about connection; that's what motivates me - helping people find their place in the world. If King's can help people do that, and I can play a small part in it, it's really rewarding for me.’

What advice would you give to students or graduates for success in life after King's?

‘I feel very lucky and privileged to have followed my passion and done things I've really enjoyed. My pearl of wisdom would be to find your passion and joy. Life can be hard, and the world is a challenging place. It's important to find fulfilment. I encourage people to make sure that's part of their life, even if it doesn't come from their career.

‘So even if it's a hobby, find what makes your heart sing and keep that in your life; it helps reset the balance when life gets tough.’

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What advice would you give to students or graduates for success in life after King's?

‘I feel very lucky and privileged to have followed my passion and done things I've really enjoyed. My pearl of wisdom would be to find your passion and joy. Life can be hard, and the world is a challenging place. It's important to find fulfilment. I encourage people to make sure that's part of their life, even if it doesn't come from their career.

‘So even if it's a hobby, find what makes your heart sing and keep that in your life; it helps reset the balance when life gets tough.’

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WRITERS

Kelly Archer
Paul Brooks
Hermione Cameron
Kate Hazlehurst
Teresa Richards
Alex Scott
Karina Scuteri
Ellie Stone
Stephanie Young

DESIGN

Principal design by Jonathan Vickers
Additional design and coding by Carly Yung
Approved by brand@kcl.ac.uk
Photography by Nathan Clarke and Jim Winslet

WITH SPECIAL THANKS TO

JH Norris

ALUMNI & EDITORIAL OFFICE

King’s College London
57 Waterloo Road,
London,
SE1 8WA

InTouch is published by the University’s Philanthropy & Alumni Engagement Office. The opinions expressed in it are those of the writers and not necessarily those of the University.

If you have a story for our Autumn 2025 issue, email us at forever@kcl.ac.uk

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