West End Closures

Cost, trains, didactic directors and playwrights plus producers churning out the same old stuff again all plays a part.

- I'm not sure if Operation Mincemeat is original but it feels it and I'm sure that's why it keeps extending.

- In the NY the Met opera is struggling on selling the classics and so they are branching out into new commissions

To me, after Covid, theatre feels like it needs a really good shake up.

Thought this was a well written article and I very much agree with a lot of it especially the mention of Crazy For You not doing well and the section about artistic directors.

That's terrible of The Times to do that - as it immediately suggests CFY is also closing early, which at time of writing, isn't the case.  So a) it's untrue, and b) it might put people off booking if they now think it's going to close.  

Surely it would've been much better to have used a production shot from Aspects or ATP given those closures are already confirmed.

Trains are definitely the biggest barrier for me atm as strikes have already wiped out some of my bookings and days when there is a service (eg overtime ban days, which seem currently to be 5 or 6 days per week in consecutive weeks) mean a vastly reduced service or, as on strike days, none at all on some routes. Last Saturday, due to a reduced train service, it took me twice as long as usual to get home from the Royal Court, and that was only for a matinee. Normally that would be 1 stop on the tube for me and a direct train or at worst, 2 trains, whereas there were no tubes whatsoever on the Circle and District; it was pouring with rain so I waited for a bus instead; then had a long wait for the first train and another at East Croydon for the connection and lastly, a wet walk home. As I don't even live that far from London and wasn't trying to do this after an evening performance, it must be so much worse for those travelling from further afield and with more complicated and expensive journeys. There are definitely plays/shows I want to see, some of which end very soon, but it's either too difficult or impossible to travel or the train service (if any) hasn't been announced yet: on my route, not even for next Saturday, 5 August. Maybe theatres could put some pressure on the government to resolve the rail dispute?

And can't resist saying **yet again** that the pricing in the West End is absolutely outrageous. I thought for a while 'well people are prepared to pay so they'll keep on doing it' but actually, I just don't think people either can afford or are routinely prepared to pay whacko prices anymore in a cost of living crisis and that is why shows are closing or struggling (I know the train service is terrible too; I'm surprised all of you who live in England (I don't) aren't out on the streets with sheer frustration and burning anger by now demanding change).

I remember booking a ticket by phone to see Buried Child at the Trafalgar Studios in 2016 and saying to the girl at ATG (where else?) that it was outrageous that best seats were £67.50. It was the first time I had ever seen such extortionate pricing, as I thought at the time. Now we're conditioned to almost view £67.50 as relatively cheap and that would probably now only get you Row Q at the Harold Pinter behind a column if you're lucky. The last 7 years of price increases have been a gradual disaster for the West End and one day someone will look back at it and wonder what the hell they were thinking.

I expect there’s a number of reasons why each show is closing but the prices and cost of living is a big factor

Some shows with stars or a smart marketing campaign may be daring better but people are choosier nowadays.

This isn’t just happening in theatre. You can only look at the string of movies that have bombed this year. Some of them were seen as money makers like The Flash with Michael keatons Batman

I don’t go to 1/4 of the shows I used to. That’s because I’ve had too many ruined by inconsiderate fellow theatre goers- phones.. talking…

Just isn’t worth it anymore sadly.

Also ticket prices are definitely a huge problem. They have really increased the costs hugely and I know for a fact that people working on these shows aren’t seeing any of that in their pay packet.

Fair point, ceebee, but I'd say that it's precisely because some of us here do go so often that we're both cost-conscious and price-sensitive. We're wiser to the day seats, dynamic pricing, lotteries, etc; perhaps less able to afford to pay a lot for a single play or show, but conversely, maybe better placed to time it right to get a better deal at short notice - and word-of-mouth here obviously helps.

Another valid point, Jon, but I can't be the only one here who doesn't buy tickets for other, far more expensive events such as concerts or sport and indeed, theatre is by far the greatest of my regular non-essential costs. So to me, the price I paid recently for Annie Get Your Gun (£35 plus booking fee) was not only the highest I'd paid all year but pushing my limit, because most of the time I use options such as Southwark Playhouse's PAYG scheme, NT £20 front stalls or Friday Rush, ATG senior rates and so on. It really does depend on individual circumstances and one person's splurge is, relatively, another's bargain.

The one positive I'll say is at least we aren't like new york. I'm going for almost a week in a few months and may not end up seeing anything. Partly because what's on offer just doesn't appeal, but mainly I could weekend in Europe for what the shows are charging.

Yes there are today tix etc, but your average theatre goer won't know, or want to spend the time looking for things like that. They'll see a show they're interested in, look at the prices, and move on.


It seems to be getting to a point where a show needs to be a hit almost straight away, or its done for. Happening both here and on broadway.

The Elton John and Taylor swift comparison only works when comparing to major star led revivals, or the rare phenomenons (e.g. Hamilton). These are events that people see as not to miss out on so may splurge. But the average show doesn't have that appeal.

It's like the energy companies record profits. We here about increased maintenance costs etc and that's why we are being charged more. Yet they make record profits, and in theatre terms these producers remain millionaires and billionaires.

I think you are right. People too may be a big fan of someone and think I will splurge on seeing them on stage just this once. Which isn't a sustainable economic model. I often think about concerts: I'd love to see them but I wouldn't go again. That was my bucket list splurge. Is theatre going to go like that.

Some of the most successful in recent times seem to be shows where they at least begin in subsitised theatre or where some huge name is giving their Hamlet or whatever - seems to have moved to Macbeth now and I hate that play (how many more of those can we take surely. It seems an entitlement for some to give their Hamlet) - and they stamp their tiny feet guaranteed to bring punters and have affordable seating at least sometimes. Hasn't been a thing since lockdown it seems and last time I took advantage was keyworker seats for Betrayel at the Pinter.

I wouldn't go to see anyone give their Hamlet for 150 pounds even if I ran their fan club. For one thing I know that play backwards and have seen it so many times that any response is 'interesting take.'

Do what do they do? Who knows. Also doesn't really bode well for hiring hugh screen names. Because mostly people may go to see them in one think not really caring what it was and probably yes in some hugely well known Pinter, Chekov, Shakespeare. Safe in other words. I think we should all thank god for subsidised theatre.