In the United Kingdom, the theatre industry is something of a closed book. This is a contrast to countries where state/public ownership and management make information a matter of fully open knowledge. It is also in contrast to the where the near-public sector is compelled to open its books widely and the private sector is proud to do so (even if the figures have been modified a little to justify that price). In Britain, by contrast, the access to factual information about theatre audience numbers, trends, and ticket prices is very restricted.

This may seem odd, but it is explained by a number of factors:

First, the mixed methods of ownership and of management means that though the theatre industry may look like just one industry to the public, it is in fact organized as a series of largely independent sectors.

Second, those sectors have their own pride, their own fear of competition, and sometimes their own timidity about confessing that their business is not as good as it should be.

Third, the strong commercial sector, whether in central London or on the touring circuit round the country, has a large number of historical reasons for keeping its figures secret. For instance, in London's West End, a producer will rent a theatre for his production. If attendance figures fall below a certain level, he can be asked to close the production and leave the theatre. Therefore, a competing producer, recognizing that his rival is only just above that break point, can be tempted to do all he can to reduce his rival's sales until the show is forced to close.

Fourth, the Arts Council, though it carries a portentous title and to some extent fulfills the role of a ministry of culture, has jurisdiction over only a very small number of theatres, so that it just does not have access to audience figures and trends for the majority of theatres in Britain.

CONTENTS
The West End Theatre in London.
Regional theatre, outside London.
London's West End Audience.
Regional Theatre Results.
The figures: 1990-1993.

In the United Kingdom, the theatre industry is something of a closed book. This is a contrast to countries where state/public ownership and management make information a matter of fully open knowledge. It is also in contrast to the where the near-public sector is compelled to open its books widely and the private sector is proud to do so (even if the figures have been modified a little to justify that price). In Britain, by contrast, the access to factual information about theatre audience numbers, trends, and ticket prices is very restricted.