An example she related was her time spent with a theatre group in Poland, mixing professionals and amateurs. Their production of a Passion play utilised song and emotion to directly engage their audience. Their very open approach allowed those in attendance a very real and emotional involvement. This is in contrast to the theatre's more literary tradition in Britain, sometimes stressing the intellectual over the raw emotional approach seen in Poland.

Yet the British theatre does manage to engage audiences, and this stirring of both the head and the heart can be considered to be spiritual. The individual leaves the theatre knowing they have been moved and perhaps changed by what they have seen, heard and felt. Mention was made that not all audiences are the same and the indefinable relationship of actors and audience can influence the performances and the impact.

The comparison was made between the church service and the stage performance. The service has repetition and familiarity for the clergy and the play does for the acting profession. The congregation and audience both leave moved and reflective. One difference is that Christians draw strength from their faith and experience a continuity from the church service. Kristin described the impact of "the end of the run" and how actors tried to cope with their sense of loss.