Irish start-up Human Reality Ltd, in collaboration with Maynooth University‘s School of Electronic Engineering, is on the path to disrupting the gaming, theatre, music, and cinema sectors with an innovative new proprietary technology called contextualised augmented reality (CAR).
The technology, which combines augmented reality (AR) with ultra-wideband chips, promises to create a deeper, more meaningful experience for audiences.
At the forefront is 7 Deadly Sins, a ground-breaking live stage show that allows audiences to ‘game’ their way through the performance in real time, influencing what happens on stage via a mobile phone app.
Set to premiere at The Civic Theatre in Tallaght, with development performances on 12-13 July, the production re-imagines Dante’s Inferno for the 21st century.
7 Deadly Sins leverages CAR technology engage audiences and enable seamless between viewers and performers. Instead of the usual admonition to ‘put your phone away’ when entering the theatre, attendees are invited to get their phones out and be a part of the show.
The steampunk rock opera, directed by Prof David Bassuk, features opera singer Claudia Boyle, rising hip-hop artist Fortune Igiebor, and award-winning actress and singer Aoife Spratt. The production positions the seven deadly sins as digital or social media channels—photo and video sharing apps represent Envy, dating apps represent Lust, and cryptocurrency represents Greed.
Throughout the live performance, audience members can engage in ‘first person shooter’ combat with virtual demons, zombies, and dragons through an app available on iOS and Android. The augmented reality gaming technology is contextually designed around the on-stage production, encouraging spectators to use their phones to partake in the experience.
Niall Austin, the creator of 7 Deadly Sins, sees this innovation as a new frontier in live entertainment. “Our goal is to merge technology, narrative, and performance to create an unforgettable stage show,” he said.
“Live entertainment is constantly evolving, and with many young people attending concerts and shows to capture moments on their phones, we aim to enhance their engagement and create incredible experiences.”
The implications of CAR technology extend beyond theatre. For game developers, it offers a new vertical to monetise their brands by bringing them to the stage, generating incremental income and expanding their audience reach. Music acts can refresh their shows by integrating interactive features, justifying rising ticket prices.
The technology also has the potential to transform cinema into a gaming-like experience, offering significantly higher immersion and evolving the audience’s role from passive viewers to active participants.
Moreover, CAR can be utilised to create virtual theme parks, combining the excitement of physical attractions with the convenience of digital experiences.
An experienced marketer, Austin believes he is building the ‘next big thing’ in entertainment, and that his start-up exemplifies how small companies can scale innovation to potentially achieve global impact.
(Pic: Niall Austin)
