The Stage

Ticket trouble

Published Monday 9 November 2009 at 16:30

I read with interest that the New Theatre Oxford is among those recently purchased by the Ambassador Theatre Group. But will this do anything to make the experience of coming to a show there any better? If the more recent changes of ownership are anything to go by, I doubt it.

This is the theatre where as a student several decades ago, I was bowled over by Vanessa Redgrave, Peter Finch and others in Tony Richardson’s English Stage Company’s production of The Seagull, where I first encountered Ralph Richardson, Anna Massey, John Gielgud, Laurence Olivier, ballerina Nadia Nerina and the inimitable Danny La Rue.

Since my return to the city some 20 years ago, I have seen some wonderful performances there, mainly of operas and musicals, but that has been despite, and not because of, the theatre itself. And with Welsh National Opera down to one visit a year rather than three, and Glyndebourne and Scottish Opera no longer visiting at all, these opportunities are now far fewer.

Having to enter though a sordid alley off George Street is bad enough and an auditorium with insufficient light to read the programme is also depressing. But most iniquitous is the booking system. As with many large-scale theatres, it is no longer possible to reach the box office by telephone. The ubiquitous Ticketmaster (also currently involved in merger plans) is in control here. When I telephoned to book for Alban Berg’s Wozzeck, not only was I given the wrong information about senior concessions - they would only sell me a balcony ticket, although there were free places all over the theatre - but the £11 ticket would be inflated to £18 with their surcharges. What an extraordinary way, in this day of special offers, to market a less than popular show. I declined and decided to buy a ticket on my way in at the box office. A £30 ticket in the circle suited me fine - I paid nearly double the Ticketmaster offer, but the theatre received three times as much. When I asked why I couldn’t phone direct to the box office, I was told that they couldn’t afford the staff. I am not an economist, but this really doesn’t make sense. And as an actor myself, I believe the more money that goes direct to the performers and the venues, the better.

Thomas Bewley

Oxford Road

Abingdon

Oxon