Here in the US it’s interesting to see which regionals are doing what. Many of them seem to be doing a hybrid model of live-streaming every performance even as they continue live shows (Rattlestick), others are playing out their show’s runs and then making a filmed performance available almost immediately after (San Francisco Playhouse) - which seems to be the most practical and cost-effective, as well as the one which most distinguished between streaming and the specialness of live theater. Others are doing the first few shows of their seaso man digitally and planning to resume live performances in early 2022, and of course still others are doing no streaming at all.
There’s no question live performance trumps any film or stream of it (due respect to dramedy) but 50% is still more than we had before the pandemic, and I continue to be certain that the streaming rate won’t return to pre-pandemic levels. I’d bet my life those Diana producers, for instance, will be highly glad they made that Netflix deal. And I think there will continue to be more experimenting like that, for audience access, for preserving productions, and for thinking outside the box for additional revenue streams, whether while the production is running or for in the future after it closes.