Theatres and museums share many similarities with each other. Therefore, it can be beneficial for museums to use the potential that performance and museum theatre can provide. The aim of this analysis is to gain a better understanding for museums’ reasons to use drama as an educational method and the different forms of drama that are being used. The following research is a comparative analysis of the use of the theatrical play “The Wider Earth” at London’s Natural History Museum as an educational tool and the active use of creative drama in Swedish museums. The main source material consists of qualitative textual data, collected by means of semi-structured interviews with staff members of all participating museums. For an additional perspective, an interview was conducted with one of the theatrical play’s visitors and my own observations of the play were considered. The theoretical frame for this analysis consists of performance theory, Susan Bennett’s model of theatre audience’s experience and Dorothy Heathcote’s and Gavin Bolton’s view on drama as a learning medium. The empirical source material was analysed by means of content analysis. The results show that more could have been done to incorporate “The Wider Earth” into the museum’s educational program to achieve a better visitor experience. The Swedish museums that are part of this research use different forms of creative drama, but the overarching goal is to combine memorable experiences with education. The main conclusion to this research is that the museum visitor plays a considerable part in every form of creative drama in the museum space because the holistic experience is created by visitor and museum together. This is a two years master’s thesis in Museum and Cultural Heritage Studies.