This study explores consumer expectations towards and intentions to attend live theatre within the context of an urban Saskatchewan audience and in relation to conventionally- defined forms of cinema and television. A gap exists between theory and empirical knowledge as it pertains to this audience. This thesis considers the role of the audience within the performative experience through the theoretical lenses of performance, criticism, consumer behaviour, and marketing; evaluating attitudes towards the three media and how these attitudes influence the behaviour and intention of consumers. Blending theory of spectatorship with marketing and behaviour theory and an empirical research strategy, this study presents evidence outlining audience expectations of these media and how expectations affect consumer intention and behaviour. Results illuminate the perceived role and relevance of theatre in relation to cinema and television within the city of Regina. This research may assist theatre administrators to implement more effective audience development strategies. The audience shares a relationship with the on-stage action in theatre (Bennett 1990). The same is true but to differing degrees in cinema and television. In evaluating the relationship among these media, the following four traits were identified as point of differentiation: 1) liveness; 2) cultural currency; 3) the public/private nature of each; and 3) the accessibility of each. Cultural relevance was also measured. Data collection occurred between October 2009 and February 2010 from 308 randomly- selected households in Regina. The questionnaire collected information on media consumption habits, behaviour/intention, attitudes towards the media, and demographic information. It was hypothesised theatre would rate highly for liveness, cultural currency, and public consumption; low for accessibility and relevance; and that liveness and public viewership would positively impact attendance, while cultural currency and accessibility would impede attendance. Findings on were inconclusive for liveness, showed partial support for cultural currency and accessibility, full support for public viewership, and no support cultural relevance. Behaviourally, social viewership and cultural relevance affected consumer behaviour, accounting for 7.9% variance. According to the findings, more than 50% of households indicated an interest in attending the theatre more often. Anecdotal concerns from producers regarding venue locations and cultural accessibility are assuaged by the fact that these items did not negatively impact behaviour. Further study is warranted to understand what areas of social viewership and cultural relevance specifically impact consumption of theatre, to help drive Regina audiences to the theatre.