THEATRES AND PUBLIC

Observer, Volume XXIX, Issue 43, 10 July 1909, Page 2

THEATRES AND PUBLIC

Grumbling from the Stalls

FROM time to time there arises through the correspondence columns of the newspapers a complaint as to the manner in which various theatrical managements are treating their patrons with regard to their charges for admission. Principally, the grievance springs from the system of the extra fee for "early doors." The wail raised by J. Shepherd in the "Star" a few evenings ago may be taken as typical of the rest. Mr Shepherd states, with respect to a particular evening at the Rickards entertainment — " I could not book a seart. in the orchestra stalk, so I went to His Majesty's early to get an early door tioket for the ' ordinary stalls,' which cost me 2s 6d, the advertised price. But imagine my surprise on going in, they had the ordinary stalls divided in halves, leaving seven rows of seats at the back, and eight rows of seats in the front. The front seats they charged 3s 6d early doors. That meant another shilling for seats that were advertised for 2s ordinary, and 2s 6d early doors. I consider this practice most unfair to patrons of the theatre."

To the system of early doors per se, there does not appear to be much objection. It is provision for the "early bird." There is an obvious advantage to the frequenter of the stalls who cannot afford to indulge in the larger charge for booked seats in the dress circle or the orchestra stalls, in being able, by attending half an hour or so before the general rush, to get his stall without jostling, amd to make pretty sure of it. On the whole, therefore,, the extra sixpence is not begrudged. What the public do complain of, however, is that seats in the middle of the floor space, which usually rank merely as stalls, and are understood to be such in the absence of 'notice to the con-' fcrary, should be classed and charged

for ac extra orchestra stalls, even though some of them may be back under the gallery. Another conse-. quence of this arrangement is that of hundreds who may be prepared ta pay the supplementary " early door" rate, a large proportion find on arrival that there are no " early door stalls " for them, the first comershaving secured the comparatively few that are available. Therefore, they are obliged either to pay the additional charge for mid-floor seats which they consider should rank as stalls, or else go elsewhere for their entertainment.

It goes without saying that theatrical managers are entitled to regulate their charges for admission as seems best to them. With relation to the public, they stand in the same position as do any other class of traders. It is for them to judge the probable attractiveness to thepubkc of their wares, and to fix their tariffs accordingly. Supposing that they deemed it judicious to have only one price for admission to all parts of the floor of the theatre, they would be within their rights in doing so. It would then rest with the public to decide for themselves whether an entertainment was of such quality that it was worth while to pay orchestra stall prices for seats against or near the back wall. No one supposes that J. C. Williamson, or Meynell and Gunn, or Harry Bickards are in business for sheer philanthropy, or that they are called upon to limit their profits in order to provide ' ' shows ' ' for the public at what they consider less than, market value.

But what the public do ask for is candour and straightforwardness on the part of the management. The ordinary area of orchestra stalls ispretty well recognised, and when " stalk " are advertised at 3s or 2s, as the case may be, it is understood that they comprise all the floor seat® at the back of the usual ' 'orchestral boundary. If the management saw fit to intimate that on account of the costliness of a particular company they were only able to set apart five or six rows as "<stalls," it would be plain that these seats would have to be scrambled for by those who were unable or disinclined to pay the higher rates. Then people with limited purses would know that they had either take part in the scramble or stay away. The whole trouble arises from the elastic nature of the "orchestra stalls" area under the system now followed. If the theatrical managers wish to cultivate hearty relations with their patrons, it should not be difficult to arrive at a basis of mutual understanding, but the foundation of that understanding must be managerial candour.