The UK’s National Theatre has been trying a new strategy this summer to attract larger audiences to its performances: dropping ticket prices. Astonishingly enough, as it turns out, the public is in favor of spending less on tickets. “The gamble of slashing most seat prices to £10 in the National Theatre’s largest auditorium has filled the yawning spaces of the Olivier with new young theatre goers. In the past sweltering weeks, when other theatres were discounting frantically to keep their shows alive, the Olivier has been more than 90% full.”
Tag: 07.22.03
It’s No ‘Orange Blossom Special,’ But It’ll Do
This week, Spiro Patanikolatos made his solo debut at the Hamptons Music Festival in upstate New York. His instrument of choice was a 10-car locomotive. “The westbound 8:05 p.m. train out of Bridgehampton and its 20-second-long roar have become something of a festival tradition, one that soloists… have tried to somehow ‘play around’ by adjusting their phrasing.” But this year, the festival held a competition in which composers wrote works specifically designed to feature the rumbling train. “The audience of several hundred watched the train go past and cheered. Mr. Patanikolatos sounded its long, loud whistle, and the featured instrument of the evening disappeared down the track.”
New Chairwoman, Familiar Problems
When Dame Judy Mayhew takes over the reins of London’s Royal Opera House, she will have her work cut out for her. The head job at Covent Garden has always been a notoriously tricky one politically, and the ROH is not exactly flush with cash at the moment, either. Mayhew is upbeat about the future, but realistic about the short and long-term challenges that lie ahead of her: “The reality is that we have to find a way of squeezing another £1.4m out of next year’s Covent Garden budget, and we have to find ways of doing it without damaging the core product.”
Marketing Specialist Takes The Orchestral Reins in Sydney
The Sydney Symphony Orchestra has been running in the black, but that doesn’t make its newest managing director’s job any easier. Times are tough in the orchestral world, and Libby Christie knows the perils of operating a business with high overhead and unpredictable income sources. What she doesn’t know much about is music. Christie is one of a new breed of orchestral administrators who are hired not for their love of classical music, but for their business savvy. Christie herself describes her expertise as being in “branding, marketing and top-line business development with potential sponsors.” That’s the kind of corporate-speak that often makes boards happy, but can make musicians nervous.