West End shows are meant to be entertaining for all, but is it sustainable for your bank account?
When you think of London, it’s likely that the West End will come to mind. For me, when I think about London, I think of city-life, football and my beloved West End Shows like Hamilton, which I could watch all day long.
However, whenever I look at booking a new show, I am astounded by how much I have to pay - I remember paying up to £40 for a ticket when I was younger, but the cheapest seats at some shows now are £70 - with £250 being the average maximum price. With this massive increase, I wonder if the theatre actually lives up to this high standard and ludicrous price?
London caters for all ages when it comes to the West End, thinking about diversity and equality when casting and advertising shows; this makes it extremely popular and attracts many tourists on a national and international scale. If the theatre is meant to be diverse, entertaining and a fun day out, how do shows expect to attract audiences if the high prices make it virtually inaccessible?
As exorbitant as these prices seem, one West End show managed to charge £400 for a ticket, just to see Bridgerton’s star Jonathan Bailey in ‘Cock’, which still managed to be cheaper than NYC Broadway prices, where some shows charge up to £600.
These shows can no longer captivate an audience, with sales dropping, this causes a drastic multiplier effect, where many shows are forced to shut down or relocate. Think about the Andrew Lloyd Webber ‘Bad Cinderella’ scandal, where he announced the shutting of his show (due to a decline in reviews and audiences) over social media, before formally discussing this with the cast and stars of the show. Many shows are starting to relocate overseas, just to be met by more sky-high prices and angered audiences.
However, there is an opposing side to the argument. West End stars have to devote their whole life to their industry and talent, as it’s very hard to get into. With the price of university being so high, as well as the cost of living in London (housing, travel and food), if prices in theatres were lowered, shows could face drastic pay cuts - also contributing to the multiplier effect. Performers have to live locally to their show (London), but if they face pay cuts, they could be forced out of their homes meaning shows could lose cast and therefore be forced to shut. This therefore shows that there is no happy medium, with prices increasing nationally, theatres are forced to always raise their prices. Also, if more and more people see a show, its popularity increases meaning so does its price. This is a constant, never-ending loop, which repeats and repeats over years.
Does this stop people from buying tickets?
No, although audiences for shows are limited to a very specific demographic group now. Families are less likely to be able to afford to go, after a day in London is expensive as it is, they now have to factor in the extortionate prices of the West End. This means many children are unaware of the arts and entertainment, something which used to inspire children and provoke awe of the industry, and be further supported by schools. It also means many schools cannot go on trips to watch shows anymore, as the funding for coaches (driving into congestion charging zones) and at least 60 seats at the theatre is so unreachable.
There is change on the horizon, however. Hamilton, London, have taken on writer and star Lin-Manuel Miranda’s idea of ‘EduHam’, where certain shows are dedicated to local children and students being able to watch the show, encouraging and showcasing the diversity of both the show and society. With the success of the program, I feel more shows should take on this idea, as it’s teenagers and young adults who need to be inspired, for it is them who will be taking over industries and becoming the future of the UK.
Shows should therefore cater for both their stars and audiences, thinking about the economical instability some of the country is facing and how this may impact people in the industry. If prices stay relatively stable, the typical demographic of the audience will grow and constantly change.
By Grace Wells
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