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Unchecked Ticket Hikes Are Pricing People Out Of Theatregoing

Glow sticks. We’ll come on to that in a moment.

This week, The iPaper’s Kasia Delgado issued an indictment of A Streetcar Named Desire’s £305 ticket prices, stating: “Theatre needs to make money. It also needs to remain valued and loved, and if only people with loads of spare cash, or a very relaxed approach to credit card debt, end up being able to see it, I worry about where that’ll leave the best form of entertainment that exists. An art form, that – after all – Shakespeare famously put on stage for anyone and everyone.”

Inflation busting premium ticket prices of £305, plus booking fee, is not only absurd, it is criminal amid the cost of living crisis.

To the West End, currently a topsy turvy combination of premium pricing, day seats and even a ‘game of chance’ involving glow sticks.
Rip off

Heck, even leading lady Patsy Ferran is uncomfortable with it all, stating in an interview recently: “The last couple of years theatre prices have reached a point that is shocking to me, but maybe I should just get used to it.”

In reality, profit thirsty ATG’s dominant market position means the company does not face any pressure to continually innovate and improve.

Of course, our old friend dynamic pricing is at play. I get it. Streetcar is a commercial show entitled to charge whatever the market can take.

But affordability equals sustainability, and sensible ticket prices are key to the theatre’s survival.

Speaking on a panel entitled Building a Better Financial Model for Theatre at The Stage’s Future of Theatre conference, Lighting designer Paule Constable said that premium tickets have generated a “wave of discontent” within the industry.

She added: “We need more transparency around how that money is spent. We, as a workforce, need to make the effort to understand that more and it needs to be talked about more.”

It’s hard not to admit that she has a point. Theatre has got to be kept accessible to everybody, because ultimately everything depends on keeping audiences excited about going.

Still, you can see A Streetcar Named Desire for a tenner. If you queue up 2.5 hours before performances for a glowstick (yes, really). Out of the 30, five glow sticks glow green when snapped. The lucky five can head to the box office and buy a pair of front row £10 tickets. There is a weekly lottery.

Send in the clowns. Ah, don’t bother. They’re here.

Phoenix Theatre Glowstick Day Seat Queue

Anyway, once I’d peeled myself off the ceiling, I went along to embrace the madness this week. Reader, my glow stick did not glow. But I was offered a £35 seat in the dress circle or a £10 standing ticket. I opted for the £10 standing ticket. Later my phone rang and I was put in a house seat. Lucky, eh.

A representative for A Streetcar Named Desire said that 83% of all its tickets have been sold at £100 or under. Hm.

Still, the average face value of top-price tickets in the West End has rocketed by a fifth since 2019, a recent survey by The Stage revealed. Glancing at a handful of West End shows £1-300 stalls seats are sadly standard now.

Of course, this fluctuates year on year and is frequently influenced by a small number of high-profile shows. Last year, Cock – starring Jonathan Bailey – saw producers disastrously try and flog £400 tickets, stating it was based on “supply and demand”

What are we to conclude from this?

As in many economic situations, there is a squeezed middle: theatre lovers who are neither wealthy enough to buy premium tickets and who don’t have a flexible work / life pattern to queue in person or online for discounted tickets. 

Seven Card Stud



Surely, extending personalised pricing to students or the unwaged, which was widespread in the 1980s, would maximise audiences. That said, personalised pricing can be progressive. In Finland, for example, speeding tickets are based on your income

All the same, I worry that we shall soon reach the point of no return, that the gap between the commercial and subsidised sector is growing ever wider and that the young will be put off by high prices. Of course, the system is broken, it’s not working for weary audiences.

But it’s not just the rising ticket prices that worry me. It’s also the sense of banality afflicting the West End. There are, as ever, 33 musicals of varying quality currently running. We should ponder both the escalating cost of tickets and the actual quality of what is on offer. 

Anyway, I’m with singer Neil Young who last week said it best: “It’s over” and that “the old days are gone” amid wider consternation at ticketing company’s pricing policies. And that is where we are. 

Paul Mescal and Patsy Ferran in A Streetcar Named Desire

Since the success of the subsidised and commercial sectors are intimately bound, it can’t just be left to subsidised theatre to take responsibility for building tomorrow’s audiences, the West End has to play – and pay – its part too.

A Streetcar Named Desire runs until 6 May

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Olivier Awards Nominations 2023: Who Will Win & Who Should Win?

First: a great deal of joy in most nominated musical Standing At The Sky’s Edge for its tremendous successes on this year’s nominations list. 

Richard Hawley and Chris Bush’s hit show, about Sheffield communities, has a load of nominations including Best Musical, Best Set Design for Ben Stones and Best Actress in a Musical for Faith Omole.

Standing At The Sky’s Edge

Naturally, much acclaimed My Neighbour Totoro, the stage adaptation of Studio Ghibli’s 1988 animated film, takes pole position with 9 nominations in categories Best Entertainment or Comedy Play, Best Director, Best Theatre Choreographer, Best Original Score and a Best Actress nod for Mei Mac.

Donmar Warehouse’s production of The Band’s Visit gets 6 nominations and it’s good to see Katie Brayben land Best Actress in a Musical for her solid performance as Tammy Faye

However, the Best Actress category is impossible to call – though it could well be that Patsy Ferran will clinch it for her tremendous performance as Blanche in A Streetcar Named Desire. Not backing Jodie Comer is now practically a treasonable offence, but a victory for her will happen at the expense of a subtler performance. 

Paul Mescal has added an Olivier nod for his role in A Streetcar Named Desire to his recent Oscar nomination. 27 actors are first-time Olivier nominees.

Jealous insecurities … Paul Mescal and Anjana Vasan in A Streetcar Named Desire. Photograph: Marc Brenner

Elsewhere, super producer Sonia Friedman is back on top with 17 nominations for her shows including 6 for To Kill A Mockingbird, 3 for Patriots, 1 for Jerusalem and 7 nods for Oklahoma!

On the play front, my guess is that A Streetcar Named Desire will win almost all its categories, My Neighbour Totoro will, in fact, sweep the board and New Diorama’s hit For Black Boys Who Have Considered Suicide – soon to run in the West End – could land Best New Play. 

For Black Boys Who Have Considered Suicide


Anyway, let’s have a recap of the nominees plus a guide to who should win each category.

Full list of nominations for Olivier Awards 2023 with Mastercard:

Noël Coward Award for Best Entertainment or Comedy Play

Jack And The Beanstalk at The London Palladium

My Neighbour Totoro at Barbican Theatre

My Son’s A Queer, (But What Can You Do?) at Garrick Theatre & Ambassadors Theatre

One Woman Show at Ambassadors Theatre

Will win: My Neighbour Totoro

Should win: My Neighbour Totoro 

Gillian Lynne Award for Best Theatre Choreographer

Matt Cole for Newsies at Troubadour Wembley Park Theatre

Lynne Page for Standing At The Sky’s Edge at National Theatre – Olivier

Kate Prince for Sylvia at The Old Vic

Basil Twist for Puppetry Direction for My Neighbour Totoro at Barbican Theatre

Will win: Matt Cole for Newsies 

Should win: Lynn Page Standing At The Sky’s Edge 

Best Costume Design

Frankie Bradshaw for Blues For An Alabama Sky at National Theatre – Lyttelton

Hugh Durrant for Jack And The Beanstalk at The London Palladium

Jean Paul Gaultier for Jean Paul Gaultier Fashion Freak Show at Roundhouse

Kimie Nakano for My Neighbour Totoro at Barbican Theatre

Will win: Kimie Nakano for My Neighbour is Totoro

Should win: Kimie Nakano for My Neighbour is Totoro

Cunard Best Revival

The Crucible at National Theatre – Olivier

Good at Harold Pinter Theatre

Jerusalem at Apollo Theatre

A Streetcar Named Desire at Almeida Theatre

Will win: A Streetcar Named Desire 

Should win: A Streetcar Named Desire

Magic Radio Best Musical Revival

My Fair Lady at London Coliseum

Rodgers & Hammerstein’s Oklahoma! at Young Vic

Sister Act at Eventim Apollo

South Pacific at Sadler’s Wells

Will win: Oklahoma! 

Should win: South Pacific 

d&b audiotechnik Award for Best Sound Design

Bobby Aitken for Standing At The Sky’s Edge at National Theatre – Olivier

Tony Gayle for My Neighbour Totoro at Barbican Theatre

Drew Levy for Rodgers & Hammerstein’s Oklahoma! at Young Vic

Ben & Max Ringham for Prima Facie at Harold Pinter Theatre

Will win: Standing At The Sky’s Edge 

Should win: Standing At The Sky’s Edge 

Best Original Score or New Orchestrations

David Yazbek, Jamshied Sharifi & Andrea Grody – Music and Lyrics by David Yazbek, Orchestrations by Jamshied Sharifi & Additional Arrangements by Andrea Grody – The Band’s Visit at Donmar Warehouse

Joe Hisaishi & Will Stuart – Music by Joe Hisaishi & Orchestrations and Arrangements by Will Stuart – My Neighbour Totoro for Barbican Theatre

Daniel Kluger & Nathan Koci – Orchestrations and Arrangements by Daniel Kluger & Additional Vocal Arrangements by Nathan Koci  – Rodgers & Hammerstein’s Oklahoma!  Young Vic

Richard Hawley & Tom Deering – Music and Lyrics by Richard Hawley & Orchestrations by Tom Deering – Standing At The Sky’s Edge at National Theatre – Olivier

Will win: Standing At The Sky’s Edge 

Should win: Standing At The Sky’s Edge 

Best Actor in a Supporting Role

Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh & Kaine Lawrence for For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy at Jerwood Theatre Downstairs at The Royal Court Theatre

Will Keen for Patriots at Almeida Theatre

Elliot Levey for Good at Harold Pinter Theatre

David Moorst for To Kill A Mockingbird at Gielgud Theatre

Sule Rimi for Blues For An Alabama Sky at National Theatre – Lyttelton

Will win: Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh & Kaine Lawrence for For Black Boys Who Have Considered Suicide

Should win: Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh & Kaine Lawrence for For Black Boys Who Have Considered Suicide

Best Actress in a Supporting Role

Rose Ayling-Ellis for As You Like It at @sohoplace

Pamela Nomvete for To Kill A Mockingbird at Gielgud Theatre

Caroline Quentin for Jack Absolute Flies Again at National Theatre – Olivier

Sharon Small for Good at Harold Pinter Theatre

Anjana Vasan for A Streetcar Named Desire at Almeida Theatre

Will win: Anjana Vasan for A Streetcar Named Desire 

Should win: Anjana Vasan for A Streetcar Named Desire 

Blue-i Theatre Technology Award for Best Set Design

Miriam Buether for To Kill A Mockingbird at Gielgud Theatre

Tom Pye for My Neighbour Totoro at Barbican Theatre

Ben Stones for Standing At The Sky’s Edge at National Theatre – Olivier

Mark Walters for Jack And The Beanstalk at The London Palladium

Will win: Tom Pye for My Neighbour Tototoro 

Should win: Tom Pye for My Neighbour Tototoro 

White Light Award for Best Lighting Design

Natasha Chivers for Prima Facie at Harold Pinter Theatre

Lee Curran for A Streetcar Named Desire at Almeida Theatre

Jessica Hung Han Yun for My Neighbour Totoro at Barbican Theatre

Tim Lutkin for The Crucible at National Theatre – Olivier

Will win: Natasha Chivers for Prima Facie 

Should win: Lee Curran for A Streetcar Named Desire 

Best Actress in a Supporting Role in a Musical

Beverley Knight for Sylvia The Old Vic

Maimuna Memon for Standing At The Sky’s Edge National Theatre – Olivier

Liza Sadovy for Rodgers & Hammerstein’s Oklahoma! at Young Vic

Marisha Wallace for Rodgers & Hammerstein’s Oklahoma! at Young Vic

Will win: Beverley Knight for Sylvia The Old Vic 

Should win: Marisha Wallace for Oklahoma! 

Best Actor in a Supporting Role in a Musical

Sharif Afifi for The Band’s Visit at Donmar Warehouse

Peter Polycarpou for The Band’s Visit at Donmar Warehouse

Clive Rowe for Sister Act at Eventim Apollo

Zubin Varla for Tammy Faye at Almeida Theatre

Will win: Sharif Afifi for The Band’s Visit

Should win: Zubin Varla for Tammy Faye 

Best Actor in a Musical

Alon Moni Aboutboul for The Band’s Visit at Donmar Warehouse

Arthur Darvill for Rodgers & Hammerstein’s Oklahoma! at Young Vic

Julian Ovenden for South Pacific at Sadler’s Wells

Andrew Rannells for Tammy Faye at Almeida Theatre

Will win: Arthur Darvill for Rodgers & Hammerstein’s Oklahoma! at Young Vic

Should win: Julian Ovenden for South Pacific 

Best Actress in a Musical

Katie Brayben for Tammy Faye at Almeida Theatre

Anoushka Lucas for Rodgers & Hammerstein’s Oklahoma! at Young Vic

Miri Mesika for The Band’s Visit at Donmar Warehouse

Faith Omole for Standing At The Sky’s Edge at National Theatre – Olivier

Will win: Katie Brayben for Tammy Faye

Should win: Katie Brayben for Tammy Faye

Unusual Rigging Award for Outstanding Achievement in Affiliate Theatre

Age Is A Feeling at Soho Theatre

Blackout Songs at Hampstead Theatre Downstairs

The P Word at Bush Theatre

Paradise Now! at Bush Theatre

Two Palestinians Go Dogging at Jerwood Theatre Upstairs at The Royal Court Theatre

Will win: The P Word 

Should win: Age is A Feeling 

Sir Peter Hall Award for Best Director

Rebecca Frecknall for A Streetcar Named Desire at Almeida Theatre

Robert Hastie for Standing At The Sky’s Edge at National Theatre – Olivier

Justin Martin for Prima Facie at Harold Pinter Theatre

Phelim McDermott for My Neighbour Totoro at Barbican Theatre

Bartlett Sher for To Kill A Mockingbird at Gielgud Theatre

Will win: Phelim McDermott for My Neighbour Totoro 

Should win: Rebecca Frecknall for a Streetcar Named Desire 

Best Actress

Jodie Comer for Prima Facie at Harold Pinter Theatre

Patsy Ferran for A Streetcar Named Desire at Almeida Theatre

Mei Mac for My Neighbour Totoro at Barbican Theatre

Janet McTeer for Phaedra at National Theatre – Lyttelton

Nicola Walker for The Corn Is Green at National Theatre – Lyttelton

Will win: Jodie Comer for Prima Facie 

Should win: Mei Mac for My Neighbour Totoro

Best Actor

Tom Hollander for Patriots at Almeida Theatre

Paul Mescal for A Streetcar Named Desire at Almeida Theatre

Rafe Spall for To Kill A Mockingbird at Gielgud Theatre

David Tennant for Good at Harold Pinter Theatre

Giles Terera for Blues For An Alabama Sky at National Theatre – Lyttelton

Will win: Paul Mescal for A Streetcar Named Desire 

Should win: Paul Mescal for A Streetcar Named Desire 

Delta Air Lines Best New Play

For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy at Jerwood Theatre Downstairs at The Royal Court Theatre

Patriots at Almeida Theatre

Prima Facie at Harold Pinter Theatre

To Kill A Mockingbird at Gielgud Theatre

Will win: Prima Facie  

Should win: Patriots 

Mastercard Best New Musical

The Band’s Visit at Donmar Warehouse

Standing At The Sky’s Edge at National Theatre – Olivier

Sylvia at The Old Vic

Tammy Faye at Almeida Theatre

Will win: Standing at the Sky’s Edge 

Should win: Standing at the Sky’s Edge 

And there we have it.

The Olivier Awards will be hosted by Hannah Waddingham and broadcast via ITV and Magic Radio. Further details of the ceremony will be announced soon.

Normal People’s Paul Mescal, just nominated for an Oscar and BAFTA for his role in the film Aftersun, Olivier Award Winning Patsy Ferran, We are Lady Parts’ Anjana Vasan and Our Girl’s Dawn Walcott will all reprise their roles in the West End transfer

‘A Streetcar Named Desire’

Paul Mescal, just nominated for an Oscar and a BAFTA for his leading role in the film Aftersun, and best known for his BAFTA winning role in Normal People, Olivier Award winner Patsy Ferran (Summer & Smoke), Anjana Vasan (We Are Lady Parts) and Dwane Walcott (One Night in Miami, Our Girl) will continue in the roles of Stanley, Blanche, Stella and Harold ‘Mitch’ Mitchell respectively, in the transfer of the Almeida Theatre’s critically acclaimed, hot ticket & sell-out production of A Streetcar Named Desire. Directed by Rebecca Frecknall (Cabaret, Summer & Smoke), the production will run for a strictly limited 6-week run, at the Phoenix Theatre, from 20 March to 29 April 2023.

★★★★★

The Times, The Sunday Times, The Observer, The i

“How pretty the sky is! I ought to go there on a rocket that never comes down.”

On a street in New Orleans, in the blistering summer heat, a sister spirals.

When Blanche unexpectedly visits her estranged sister Stella, she brings with her a past that will threaten their future. As Stella’s husband Stanley stalks closer to the truth, Blanche’s fragile world begins to fracture. Reality and illusion collide and a violent conflict changes their lives forever.

Almeida Associate Director Rebecca Frecknall’s “heart-stopping” (The Telegraph)revival of Tennessee Williams’ masterpiece transfers to the West End for a limited six week run. 

Patsy Ferran (“astonishingly good” Time Out) returns as Blanche DuBois, with Paul Mescal (“tremendous” The Times)as Stanley, and Anjana Vasan (“outstanding” New York Times) as Stella in this “mesmerising” (The i) production.

Paul Mescal said “I’m incredibly excited that Streetcar is being transferred to the West End with this formidable cast and creative team, led by the exceptionally talented Rebecca Frecknall. It’s my favourite play and it’s wonderful to be able to share it with a wider audience”.

This is the first production Rebecca has directed following the multi-award-winning production of Cabaret, for which she won the Olivier Award and Critics’ Circle Theatre Award for Best Director (the production won seven Olivier Awards in total).

Rebecca Frecknall, Director, said “I’m thrilled we will have the opportunity to share this production with a wider audience. It’s a testament to this fantastic company and incredible play. It’s been moving to see how audiences have responded to our work and I’m excited to see how the piece will evolve in the West End.”

A Streetcar Named Desire’s creative team is as follows: Director: Rebecca Frecknall; Set Designer: Madeleine Girling; Costume Designer: Merle Hensel; Lighting Designer: Lee Curran; Sound Designer: Peter Rice: Composer: Angus MacRae and Casting Director: Julia Horan CDG.

A Streetcar Named Desire is produced by Ambassador Theatre Group Productions the Almeida TheatreWessex Grove and Gavin Kalin productions.

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A Streetcar Named Desire is everything you want Theatre to be

Mescal, Credit…Marc Brenner


First things first, Paul Mescal is tremendous. He makes bully Stanley Kowalski terrifying yet sensitive, while Anjana Vasan as his wife Stella is magnificent – – blind to his brutality.

Kowalski is the epitome of toxic masculinity, a character devoid of empathy and kindness.

Alas, blue-collar Stanley sees that the unexpected sister-in-law Blanche DuBois is not what she appears to be, and sets out to destroy her. Patsy Ferran excels as the disintegrating dame in director Rebecca Frecknall’s grand production of the 1947 Tennessee Williams play. 

Ferran who stepped in to play Blanche last month when Lydia Wilson withdrew due to an injury, is completely mesmerising.

Madeleine Girling’s empty raised platform, under Lee Curran’s lighting, makes the in-the-round battle for territory fully absorbing. Frecknall honours Williams in not making it easy to take sides.

This seriously unsettling production with few props barrels along: the furious jazz drum score (designed by Peter Rice) sometimes becomes intrusive and occasionally makes the dialogue hard to hear.  

But on the whole the nerve jangling a capella singing, percussion and symphonic swells work to the play’s advantage: they punctuate Stanley’s rancour and Blanches downward spiral. 

As Blanche loses first her dignity and then her mind, an audience’s emotions is left in shreds. I wept as Blanche walked from the auditorium. 

This multi-faceted show lasts around three hours, but there isn’t a moment when the drink-fuelled tension drops or focus of the ensemble lapses.

Pasty Ferran as Blanche

The Almeida’s A Streetcar Named Desire – the play’s fifth major UK revival in the last 20 years – is everything you want theatre to be: vital, challenging, intellectually alive, visually stunning, emotionally affecting.

Yet my memories of this spiky production will be of lean, sexy and pitch perfect Mescal who roars like a goaded boar – “I’m king around here.” He mimicks a tiger, in the infamous show-down scene

It’s a savage tour de force not only from Mescal and Ferran but everyone involved, and awards will follow: a west end transfer has been announced

So if you haven’t got a ticket, try relying on the kindness of strangers.

A Streetcar Named Desire runs at the Almeida, London, until 4 February.