Truly “Accessible” Ticket Prices?
Inspired by an online discussion at http://theatreboard.co.uk/thread/610/angels-america-nt, where regular contributor Abby pointed out, “It’s interesting you mention the ROH/ENO as something that has always annoyed me is rich privileged people (not anyone here!) going on about how accessible opera is because the cheapest seats are £10 – they clearly haven’t ever sat in those seats if they think that’s a good way to experience opera, let alone dance. I’ve got to an age where it’s the best or second best seat or else I don’t bother because for me it’s just not worth being uncomfortable and frustrated in a lousy seat.”
I’d been thinking how to express that about theatre for ages, and I have to thank Abby for getting it out there so clearly. Quite simply, I think it really is all too often total rubbish about “making our show accessible to a wider audience” when the said “cheap seats” are going to provide an experience vastly inferior to the one those who can afford to pay for decent stalls seats are getting.
I always cringe when I see showbiz reporters trumpeting a potential starry hit that will be advertising “hundreds of £10 seats.” Sometimes, rarely, they are actually pretty good seats – ends of front rows or the back couple of rows of the stalls and dress circle, in the theatres that have a reasonable view back there. More often, though, they are the second and third balcony, and really restricted view stuff elsewhere…
The cynic in me suspects they are priced that way because someone has calculated that those seats will fill them with people who won’t know how to complain – but will remember not to buy them in future…
The result is that you get a first time theatregoer to come to the theatre. They sit in those grotty seats, can’t see or hear properly, and have to be winched out of them at the end… of course they don’t come back.
I grew keen on theatre thanks to “student standby.” In the days before “day seats” and discounts, you rolled up an hour before the show (longer, if you knew the play wasn’t doing well and they wanted every penny they could get) and you’d be sold the best available seat. That meant stalls and dress circle, and quite often if you were nice to them, you could even pick your pleasure, more or less.
When I grew up (Matilda) and had to pay full price, that was quite a shock. Luckily, even before I created Theatremonkey, I had the resource of all my notes to home in on the cheap but good seats – something I do to this day… and I think I could say from my 16 years online that I’ve helped many others do that too.
Once more, I wonder if the David Pugh philosophy is far better. “The Girls” has reasonably priced seats in all parts of the theatre, so there’s no need for a stunt discounting of a few cramped ones at the back. Prices are fair, and for a musical keen to attract a new audience, I think that will work very well.
Be interesting to see if others adopt this fairer, but less headline-grabbing approach. For the sake of building the theatre audience of the future by acknowledging successful method of the past, let’s hope it works and they do.