Autumn 2024-25 Royal Ballet & Opera pricing

[San Perregrino]

8 hours ago, Scheherezade said:

I trust the enclosed link to an article from Thursday’s Guardian by Patrick Gracey, Board Member of SOLT, doesn’t breach any rules. If so, please remove. 
 

What is interesting, in the context of the continual assertions by the board of the ROH that the steep rise in pricing is in line with current West End prices, is the information provided by Mr Gracey showing a 9.26% drop in West End prices since 2019, with the majority of tickets priced at less than £50, nearly a quarter under £30 and less than 5% over £150, coupled with record attendances of over 17.1 million “due to stellar performances and smart pricing”. 
 

No doubt the ROH board will use the eye-watering number of tickets given away or virtually given away by way of papering by way of evidence that its prices match these figures. 
 

https://amp.theguardian.com/stage/article/2024/jun/20/ignore-the-west-end-critics-there-are-plenty-of-cheap-theatre-seats

 

 

This is interesting to read. It's a pity that Patrick Grace doesn't provide the workings for how he arrived at his figures. I wonder what his definition of "smart pricing" is and also which theatres and shows have been included in his calculations.  

My own experience of West End shows is that, as with the ROH, if I want to book a particular seat for a particular show on a particular date, then I have to pay a high price for it. For years I have done this and did so until very recently, booking shows months in advance. However, to my eyes at least, there have recently been less and less 'stellar' performances and more and more high priced duds in the West End. I have let my Friends or Supporters membership for several theatres lapse this year since priority booking now translates to paying a premium for a seat that can be purchased for much less at a later date. I am much less inclined to invest a lot of my money upfront in a ticket for an unknown show or to see a 'celebrity name' who can't act for toffee tread the boards of the West End.  With the exceptions of a few shows, I now number amongst the 'Wait and See' contingent who make a spur of the moment decision to see a show at the last minute via the various "Rush" schemes available. As a result I increasingly decide not to bother. It hasn't taken long to break the habit of decades and, where once I used to see everything, my West End theatre going is declining at a rapid pace.

The sad thing is, that if I'm honest, I don't even feel as though I'm missing out.

 

Edited June 23 by San Perregrino

[JNC]

Thanks for sharing.

 

I don’t really care how much the top price tickets are as there will always be a market for those (those with large budgets, tourists, one-off special treats big fans) especially when you consider how much concerts or big football matches sell for, I know this has been discussed before. I personally don’t really have a problem with the stalls being £150-200, or even £200+ if they can sell them at that price. It’s either a really special treat or you have enough money to go regularly that the difference between paying £150 and £200 probably isn’t much to you is the reality of those seats, i think it’s probably unrealistic to ever have “fair” pricing at the “best” seats in the house.
 

(I know people have varying opinions of best so I don’t want to digress in that, the point simply is the best seats are a bit of a luxury I think and it’s obvious those will always be priced much higher in a profit or non-loss as much as possible model). 

 

what I think is critical is the proportion of seats under a certain price - in this example £50 seems to be the “new” threshold (before I believe it was £40, maybe even £30 at some point!). from pricing I’ve seen I’d seriously question “‘most” tickets sold under £50 for the west end, but I’ve not crunched the numbers myself obviously so will take their word for it I suppose. 
 

I think 30% or 40% (in an ideal world 50% but that’s probably not realistic given lack of government subsidy here) of tickets under £50 would make me quite happy.

 

If we’re talking about RBO in particular, I suppose the problem with RBO is they would shuffle this around across all productions (eg a much higher percentage in this category for the autumn contemporary bill vs very minimal for Cinderella/alice) so I’d like to see it consistently applied across all productions. So 30-40% tickets for every production £50 or less. One can only hope! 

[MAB]

Personally I think I will soon be outpriced.  I celebrated sixty years of watching the Royal Ballet last week, in June '64 they were dancing at Drury Lane during an ROH refurb.  In the autumn I went to the Opera House for the time and the ticket stub is still  inside the programme.  I paid £1.50 (£1.10s)for stalls circle centre.   Now I pay alround twenty times that for the upper slips.

[Scheherezade]

I wondered whether Patrick Gracey’s figures might have taken discounted prices into account but since they are offered by independent ticket agencies, is that likely? And the overall price drop since 2019 and increase in the number of attendees are surely of interest and, at the very least, form the basis for investigation. 

[bridiem]

Of course, 'under £50' can (and often now does) mean £49... And £49 for tickets that only a few years ago were c £30 is a major problem for regular attenders (who, given the cost of living crisis, would be having to economise even on the previous prices). Also, there are quite a lot of seats in the upper and lower slips that are imho pretty well pointless for ballet, so the fact that they are comparatively inexpensive is irrelevant. And as @JNC has said, if some productions are priced lower overall, that leaves other productions (including a lot of full-lengths) with comparatively few tickets under £50. 

Edited June 23 by bridiem

[MAB]

1 hour ago, bridiem said:

Also, there are quite a lot of seats in the upper and lower slips that are imho pretty well pointless for ballet, so the fact that they are comparatively inexpensive is irrelevant.

 

Nevertheless many fans sit there, I've sat next to a couple of critics in the upper slips too.

[bridiem]

1 hour ago, MAB said:

Nevertheless many fans sit there, I've sat next to a couple of critics in the upper slips too.

 

I'm sure they do, but I don't really think they should be used as evidence of prices being kept low - they should be low there! (I went to the RB's first/gala return performance after Covid and the only seat I could get was right near the stage end of the upper slips. I just saw a few feet and the odd arm every now and then...).

Edited June 23 by bridiem

[Lizbie1]

2 hours ago, bridiem said:

Of course, 'under £50' can (and often now does) mean £49... And £49 for tickets that only a few years ago were c £30 is a major problem for regular attenders (who, given the cost of living crisis, would be having to economise even on the previous prices). Also, there are quite a lot of seats in the upper and lower slips that are imho pretty well pointless for ballet, so the fact that they are comparatively inexpensive is irrelevant. And as @JNC has said, if some productions are priced lower overall, that leaves other productions (including a lot of full-lengths) with comparatively few tickets under £50. 

 

I don't sit in the slips for ballet but it is still very rare that I pay more than £25 for an acceptable, though technically restricted, seat for a main stage performance. Prices are indeed heading up, I acknowledge that my Friends+ membership sometimes gives me the jump on certain seats, I book a long way ahead, and I didn't see Swan Lake, Don Q or Manon this season so that will have helped a lot. I suppose my point is that it is still possible to see a fair amount of the RB on a budget, so they can't have abandoned cheapskates like me entirely, at least not yet.

 

OTOH I agree that the RBO has a habit of moving the goalposts in its statements about affordability of tickets so it's very difficult to make comparisons year on year. IMO this is something the trustees should be seeking to make more transparent.

[Suffolkgal]

I’m booking for Alice Cinders and a previous year’s Nutcracker at my local and lovely cinema … as I’m over 60

i get a few quidlets off. In all will cost about the same as one rear amphi ticket for a full length ballet. Plus transport and hassle. I don’t love cinema screenings but as things are I’d rather save for R and J and Onegin. 

[Blossom]

I think it’s quite interesting that the £190 seats at ROH for Cinders and Alice have largely been blocked out. I am assuming that these are the automatically reserved patrons seats - so potentially quite clever if that guarantees them another 10% income for these seats.

 

Re the article in the Guardian, SOLT does great work to encourage theatre going, especially with their campaigns. I don’t really think the represent ROH though which seems to operate quite independently and is rather dependent on funding rather than being a wholly commercial enterprise. There was also something in the Times last Friday which noted rising prices but that it’s possible to get seats at ROH for as little as £4- of course no mention of the restricted viewing. I had meant to write in but didn’t get round to it as hugely busy at work!

 

Some great articles from Richard Morrison in the Times 2 on Fridays pushing for all parties to take more of an interest in culture/the arts.

[San Perregrino]

West End shows generally have a minimum initial run of 12 weeks, with 8 shows a week in which to get bums on seats extending if the show proves popular.  A very different model to the RB which has 10-30 nights maximum of any productions in a season.

[JaneHartley]

ROH are offering 30% discount on Cosi Fan Tutte and 40% discount on Tosca (one of the most popular operas). These are also discounts they are promoting on social media (rather than through memberships). I just don't understand the strategy here at all. 

 

I'd be shocked if Alice doesn't get discounted. 

 

[LinMM]

But if it does not until after public booking lol! If they do offer discounts on Alice because it’s so outrageously expensive for where I normally sit I will just upgrade my seat and leave original seat on account credit for Cinderella shows!! 

[alison]

7 hours ago, JaneHartley said:

ROH are offering 30% discount on Cosi Fan Tutte and 40% discount on Tosca (one of the most popular operas). These are also discounts they are promoting on social media (rather than through memberships). I just don't understand the strategy here at all.

 

Can't say I've received either of these, unless they've come in this morning since I last checked my emails.

[oncnp]

Like @JaneHartley , I have only seen them on social media (IG in my case). No e-mails. 

[Scheherezade]

I’ve also seen them on social media but nowhere else. And I think they are said to be restricted to ’the most expensive seats’, which I couldn’t remotely afford even with those discounts. 

[Emeralds]

It's a bit daft that they are only offering the discount on the top price seats. If you can pay £132-140 for a Grand Tier, Orchestra Stalls or front row centre Balcony seat, why would you pay £159 or more for a C or D row balcony seat (and they have a large number of those that aren't selling). 

 

For the remaining Tosca performances they would be better off offering the discount on the whole auditorium, as nearly all the tickets under £30 have now sold out, and the majority of the £30- £50 have sold as well, but a very large number of tickets over £90 are still unsold. For summer, pricing the top seats so high is always a mistake (Cosi fan tutte has had discounting at virtually every run as well, indicating that the prices are always set too high). 

 

Anyway, since the discount codes are in the public domain, if anyone has a spare £135 or more and would like to help out ROH while enjoying some lovely Puccini (the production is traditional and beautifully done by Jonathan Kent of Almeida Theatre fame) in comfy seats, the discount code is MARIO40 (after one of the lead characters Mario Cavaradossi). Great cast too- Angel Blue, Russell Thomas, Ludovic Tezier. 

 

Don't forget to type it into the box before going to seat map and it should show you both the original price and discounted price. NB only works for seats originally priced over £200. 

 

ROH currently has over 200 seats for tonight's Tosca left to sell off in 2 hours, so do pass the code to any friends, neighbours, enemies, (haha) etc who might be looking for a special treat for a birthday, anniversary etc.......

Edited July 3 by Emeralds

[art_enthusiast]

Hi, I've booked for Tosca tonight, but I just saw that it's "audio described" - what does that mean? I've never been to an audio described performance before. Could anyone enlighten me?

[oncnp]

11 minutes ago, art_enthusiast said:

Hi, I've booked for Tosca tonight, but I just saw that it's "audio described" - what does that mean? I've never been to an audio described performance before. Could anyone enlighten me?

AUDIO DESCRIBED PERFORMANCES

We offer a number of audio described performances of our productions. Audio description may be useful if you have visual impairment. An audio description of the characters, actions, costumes, and set design is provided through a headset as the story unfolds. To reserve an audio description headset for an audio described performance, please email boxoffice@roh.org.uk.

 

What to expect:

Audio description headsets are available to collect from Box Office upon arrival.
Front of House staff are available to give instruction on how to use the headset if needed
On occasion, we provide additional Touch Tours before the performance, designed to help you familiarize yourself with the set, props and performance space.
An Audio Introduction is broadcast 15 minutes before the start of the performance and five minutes before the end of each interval.

 

Accessibility at the Royal Opera House (rbo.org.uk)

 

Many of the 24/25 season performances are labeled Audio described

Edited July 13 by oncnp

[Jan McNulty]

46 minutes ago, art_enthusiast said:

Hi, I've booked for Tosca tonight, but I just saw that it's "audio described" - what does that mean? I've never been to an audio described performance before. Could anyone enlighten me?

 

Audio described performances are becoming more common not only for ballet but also plays.

 

Northern Ballet started providing touch tours and audio description over 20 years ago and they are much appreciated by the participants.

[Emeralds]

3 hours ago, art_enthusiast said:

Hi, I've booked for Tosca tonight, but I just saw that it's "audio described" - what does that mean? I've never been to an audio described performance before. Could anyone enlighten me?

Someone who is registered blind or sight impaired in any way can get headphones (for a small fee) with which they listen to a recording throughout the performance, in which a voiceover describes in words what is happening on stage that they can't see or can't see well. Eg "A woman, Tosca, comes out through a door at the back. She is dressed in a sparkling evening gown. She looks at Scarpia in fury." (That's not the actual script. I'm just suggesting a typical example of words used.)

 

The user would listen to it while the music is being played and the singing is going on. Usually the describing stops, where possible, when there is singing or dialogue going on. (We get it on our TV as an optional extra that you can click on.)

 

I first saw someone using it at a BRB performance at Sadler's Wells Theatre some years ago prior to Covid ....I think it was at either Hobson's Choice or Romeo and Juliet (not 100% sure of the ballet). We had a chat and he said it was very useful. If the user doesn't turn up the volume too loud, it shouldn't affect audience members near them in any way. Most theatres have it nowadays.

Edited July 13 by Emeralds

[Suffolkgal]

When I lived in London I trained as an audio describer with the RSC … it was a terrific experience 

[Jan McNulty]

18 minutes ago, Suffolkgal said:

When I lived in London I trained as an audio describer with the RSC … it was a terrific experience 

 

Wow!!

[art_enthusiast]

On 13/07/2024 at 14:34, oncnp said:

AUDIO DESCRIBED PERFORMANCES

We offer a number of audio described performances of our productions. Audio description may be useful if you have visual impairment. An audio description of the characters, actions, costumes, and set design is provided through a headset as the story unfolds. To reserve an audio description headset for an audio described performance, please email boxoffice@roh.org.uk.

 

What to expect:

Audio description headsets are available to collect from Box Office upon arrival.
Front of House staff are available to give instruction on how to use the headset if needed
On occasion, we provide additional Touch Tours before the performance, designed to help you familiarize yourself with the set, props and performance space.
An Audio Introduction is broadcast 15 minutes before the start of the performance and five minutes before the end of each interval.

 

Accessibility at the Royal Opera House (rbo.org.uk)

 

Many of the 24/25 season performances are labeled Audio described

Thanks for the information! What a phenomenal performance on Saturday night. It was my first time seeing Angel Blue, Russell Thomas and Ludovic Tézier in these roles. They were all brilliant!

Edited July 15 by art_enthusiast

[Lynette H]

Just got an email from TodayTix offering "exclusive onsale" tickets for this autumns Royal Opera and Ballet programmes. 

"Under a new combined organisational name, the Royal Ballet and Opera 2024/25 Season features a programme of bold new productions, as well as returning audience favourites, thrilling debuts and bright new voices. Get tix now with our exclusive onsale!"

 

Out of curiosity I compared prices to the ROH web site.  The Today Tix offers are priced higher than the tickets on the ROH web site as far as I can see - no bargains there.  (A quick example: the Maddadam amphi tickets which are £63 on the ROH site are £73 from Today Tix. But I didn't do a detailed comparison). Buyer beware. 

 

But it's interesting that the ROH is using this agency before the season even opens. 

[Geoff]

3 hours ago, Lynette H said:

. But it's interesting that the ROH is using this agency before the season even opens. 

Why of course, the ROH will be wanting to cash in on the ahem magnificent achievements of its marketing department…

[Pulcinella]

I also received an email from London Theatre with exactly the same pricing structure as TodayTix. This is also offered as an "exclusive onsale"

[alison]

I haven't dared look at the pricing for *seats* for "standard" ballets for this season, but I do note that we have a somewhat ridiculous situation of some restricted-view seats for some "standard" operas this year being priced at around 50% less than the same seats for some "standard" ballets last season.  This being an opera where having a full view of the stage is rather less important than it is for ballet.  Seems to me that the ballet is supporting the opera more than ever.