The use of the camera in David Byrne’s Who is the Sky Tour roots the show closer to theater than cinema. 

Usually, screens peppered throughout a concert venue provide close-ups of the musicians, for audiences seated farther away. But the Who is the Sky camera — yes, singular — is placed at a more removed vantage point, a stationary angle dead center near the rear of the orchestra, with nary a cut nor close-up.

AKA: the default angle used by archival recordings of theater productions for decades.

The idea seems clear: proximity is not the central means of expression here. Rather, the camera offers an ideal view of the precisely-blocked stage tableaus.

Actual theater productions should mimic this approach. No matter where you’re sitting, wouldn’t it be nice to be able to gaze over at screens placed along the side walls, to see what the staging looks like from a more centralized position?