My second story, to explain spectacle, is harder to outright do so, because it concerns Abba Voyage, London.
This... is an experience which, to be honest, is best not spoiled at all, but I will try to explain what happened to me. Once in the arena, with quite a few people around, there came a point during the show where we were able to move a bit. This was the best thing to happen, because my parents got me a couple of steps forward and it made so, so much of a difference because I'd somehow got myself in a position where I was right in the centre of the soundscape, and, without explaining much more, what a soundscape it was.
 This is one of the best experiences I've seen, theatrical or otherwise, with the sound literally all around you if you find the right spot. These two are but a staple of what makes theatrical experiences spectacles, and how, due to the larger-than-life nature of it, it's very enjoyable for me as a blind person. I haven't even touched upon experiences like London Dungeons or the somewhat theatrical suspense that can be found more in theme parks to enhance that style of experience either, but they're there, and it helps bring a setting to life through things other than a visual medium, or, to complement said medium. The fact it still works without being able to see the visual side though, speaks volumes. Next up: Theatre is: wholesome and as a subpoint, can be intimate: From the romantically enthused drama of Phantom, there is also the whimsical side. The pantomime. The comedy. The feel-good musical, or pure escapism of shows like Wicked or Beetlejuice. The fact that pantomimes can, more often than not, produce laughs a minute and show the light-hearted side, always gets me. The bands usually follow suit as well, with a lot of whimsical scores to match. As a part of First Act Theatre Group for my tenth year now, I've seen the wholesome side from behind the scenes: various members have absolutely come out of their shell, and it's always humbling to see. I am also with Tide nor Time Players, and Lance McKrack, an original panto, was a lot of fun to be a part of. What I've learned, by being part of both of these groups, is you end up with a group of people who will support you, both off and on stage. I will reflect more on that in my next and final keyword, but before we get to that, I need to explain what I mean by intimate. This works two-fold. When I saw ADLIB's production of Hamlet, we were seated in such a way that quite a few of the cast seemed to be able to pinpoint or project towards me, in a much more direct space. What ended up happening here is I could actually follow where characters were in a scene. It was particularly interesting when at one point there seemed to be a ghost-type thing, or rather several, and some seemed to speak right in front or diagonally left of me. I didn't know who played all the ghosts, but I could have sworn I recognized at least one of the voices, and did wonder if they'd positioned themselves deliberately nearer me. It definitely showed the advantages of a more intimate setting.
Aaron’s final contribution about his unique take on theatrical experiences will be put up in another week or so.