Cue much handwringing and lamentation: How can this sort of rampant price inflation be good for the sector? How will the next generation of theatregoers ever be introduced to the artform? More pertinently, how on earth can current fans afford to sustain such a viciously expensive hobby?
Caveats aside though, why have West End prices reached such exorbitant heights? Star quality is, of course, a major factor, just as it was for Sarah Jessica Parker’s London stage debut in Plaza Suite last year. The opportunity to watch big-name actors in the flesh makes it “event theatre”, with a premium price tag attached. Much Ado the play is not the calling card, Hiddleston and Atwell are. Shows that are not star-driven – The Play that Goes Wrong is a good West End example – will not charge in the same way.
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The lengthy and recurring contractual demands of film and, especially, long-running series on streaming services, means that star names only sign up for (very) limited theatre runs, often as few as 11 weeks. This means that producers don’t have very many performances over which they can recoup their money, especially given that some well-known actors – David Tennant in the recent West End run of Macbeth is one example – refuse to do a midweek matinée, thus further reducing the number of sellable shows. With all these constrictions in place, it is no wonder that producers push prices as high as they think they can go.
As with so many aspects of life, it sometimes pays simply to hold one’s nerve when it comes to theatre-going. I write this article in mid-afternoon and a handful of top stalls seats are available for Much Ado this evening. The price? £89.50. It may not be cheap, but it’s a return to the realm of normality.
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