Skip to main content

Encouraging The Crowd: Putting Them Bottoms On Seats (UPDATED)

Update: While the below is still all correct fact, I have just had a telephone conversation with the Flash marketing team and learnt that there are a few reasons for the increased prices this year which are out of their control. It is sad that the increased levels are quite so much, but as I originally said costs are there to be covered, so it looks like the prices are there to stay.

What I will make clear however is that none of the below should appear negative towards the event. Flash 2014 was wonderful, and I am certain having previously seen those that are to perform, 2015 will be more the same. My only gripe is with the price hike. If your wallet can stand it, there is nothing more that I would recommend higher. These may be student shows, but don't be snooty about it, these are up there with many a professional performance you will see, and you might just be at a performance of a superstar of the future. Open your wallet wide and go.


Two of the highlights last year for me in my new world of theatre going were the weeks of the National Theatre Connections and the University Of Northampton's Flash Festival. During these weeks there were multiple performances: twelve in Connections (some play repeats, but different performers) and fourteen different shows in Flash. If you attended all of them (I didn't quite make it, but was close), they would have set you back £123 for the privilege.

This year the price goal posts have changed quite a bit. There are again fourteen Flash shows, while the National Theatre Connections at Royal & Derngate have been increased to fourteen. Connections have increased in price just by a single pound coin to £6 a show, which in theory is nothing to worry about. Unless you might want to support all the shows that is. Flash however has undergone the most radical and painful to the pocket change. There was a crowd encouraging Festival Ticket in 2014 which allowed you five shows for £21. This lovely and friendly ticket dropped the individual prices from £8.00 a show to a gorgeous £4.20. This year the festival ticket has gone and been replaced by a rather cumbersome and generally pointless "General Public Route" ticket for Saturday (an option on Wednesday as well, I believe), £15 for three shows. While this will be great for what are described as "general theatre-goers of Northampton", it is inflexible and offers nothing for those that may be able to attend at other times. So without that option and the festival ticket gone, it is bang £8.00 a show, thank you very much.

Now, don't get me wrong. £6.00 and £8.00 for an hours entertainment it perfectly fine. However these are feature weeks and positively glow with the idea that you might attend all the shows. Therefore the money ratchets up a great deal. As I said above, last year the two full weeks would have cost you £123, this year however to fully support all of the shows and performers of these two weeks, you are looking at £196.

That quite frankly is too much, and is I am afraid very disappointing. During Flash last year, I sat in pretty empty venues on many occasions (other than students that were performing in other shows) and Connections was quite often similar. This year there might be another empty seat for a few shows as well. Costs have to be covered certainly, but increasing prices it not going to solve it. The only thing that will help the situation are bums on seats, and offering no incentives at all will sure not put them there.

Popular posts from this blog

Review of Top Gs Like Me at Royal & Derngate (Derngate), Northampton

Long before this brand new play by local playwright Samson Hawkins opened at Royal & Derngate Northampton, Top Gs Like Me had garnered a vast amount of media attention, especially regarding the staging within the Derngate theatre on a remarkable conversion into a skatepark, a theatre version of real-life Radlands skatepark in Northampton. So, delving deep below the remarkable site within the theatre, does Hawkins' play of seething toxic masculinity, misogyny and questions around consent strike all the right marks for a perfect landing? Top Gs Like Me follows the life, as he feels it is, of Aiden. Lost in the modern world, his best mate is heading to Uni, his mum is permanently in bed, and Aiden himself is drifting into some nefarious activities. His world is really often little more than stacking shelves in the supermarket, his scooter at his side and his mobile phone and all that entails for a youth of today. Into this world comes the mysterious Hugo Bang, who leads him some...

Review of Horrible Histories - The Concert at Milton Keynes Theatre

The first Horrible Histories book, written by Terry Deary, first hit the shelves a remarkable 33 years ago and has since become a historic event in its own right, with the franchise growing and growing. There have now been 23 books, several TV series, a game show and a film. Also, of course, it is now a stage show, with both Terrible Tudors and Awful Egyptians on a current tour around the country. However, here, now briefly at Milton Keynes Theatre, as part of its own tour, is Horrible Histories - The Concert . So, given the franchise's past success, what is this concert version adding to the franchise? The quick answer is bundles of fun with lashings of subliminal education, as Horrible Histories is very much known for. The cast, created from a collection of mainstays of the original series or tours and a few extras, are as enthusiastic as possible for a production, very much initially aimed at an audience of children. Bold, big in character and overplaying everything, you canno...

Review of The Battle at Birmingham Rep

The Battle is a brand-new play by John Niven, set firmly in the nineties, that focuses on the Britpop fight between chart rivals Blur and Oasis. Opening at Birmingham Rep before transferring to the spiritual Oasis home of Manchester, the question is: is this worth donning your bucket hat, heading to the theatre, and enjoying the show to the end, or will you look back in anger when you leave? It is London, 1995. The infamous Britpop battle begins when both Blur and Oasis release singles on the same day. On one side, clean-cut, art-school intellectuals from the South. On the other hand, raw and unapologetic lads from the North. Let battle commence! The Battle is John Niven's first stage play, and he doesn't take the easy route. Deciding to bring both known people, detailed and multiple scenes and ambitious storytelling to proceedings. And for the most part, it all comes together to create a coherent whole. The casting director Claire Bleasdale has assembled a talented group of ...