The article "How to grab a front-row seat" was published on the website telegraph.co.uk on 23 Feb 2013.
The article carries a lot of comments on successive rise in West End box-office revenues.
Giving appraisal of the situation it's necessary to point out that unless you already have a ticket in your hot little hand, you’ll have to queue, too, if you are interested in seeing Adrian Lester’s performance as Othello opposite Rory Kinnear’s Iago at the National Theater when it opens in April and the initial run of 30 performances, between April and July, sold out to National Theater members before the public even got a look in.
In addition the author of the article mentions that there are day seats available and you will probably be able to get into the show when it returns to the repertory later in the year, but given this level of demand, it is no wonder that the National Theater now has some 31,000 members paying subscriptions of between £15 and £500 for privileges that include a two-week window of priority booking.
In this connection it’s worthwhile mentioning that membership schemes are not a new phenomenon,but in another unexpected development in our financially strapped but culturally rich times, people with a bit of spare cash are now joining our major arts organisations in order to secure the hot tickets of the moment;this doesn’t just apply to theaters; Tate has 105,000 members whose annual subscriptions give them access to special events and it’s the same story at the Royal Academy, which has 95,000 friends and notices a “significant” surge in take-up during big shows, as visitors seek to beat the crowds.
Speaking of this situation it is also interesting to note that theater has become a victim of its own success, because the National and the RSC have established such a reputation for quality, each season announcement is greeted with fervent excitement and people want to book tickets, and some are prepared to pay extra in order to ensure that they can.
In conclusion the author of the article expresses the view that on the other hand, the dominance of priority-bookers can cause frustration for the less-committed or less well-heeled theatergoer – exactly the broad audience that the big subsidised houses are committed to attracting.
As for me I think that situation is very unclear , because on the one hand theater becomes more successful and popular , while on the other it is difficult to get a seat. So that it is necessary to find a solution fo this newly established problem.
The article carries a lot of comments on successive rise in West End box-office revenues.
Giving appraisal of the situation it's necessary to point out that unless you already have a ticket in your hot little hand, you’ll have to queue, too, if you are interested in seeing Adrian Lester’s performance as Othello opposite Rory Kinnear’s Iago at the National Theater when it opens in April and the initial run of 30 performances, between April and July, sold out to National Theater members before the public even got a look in.
In addition the author of the article mentions that there are day seats available and you will probably be able to get into the show when it returns to the repertory later in the year, but given this level of demand, it is no wonder that the National Theater now has some 31,000 members paying subscriptions of between £15 and £500 for privileges that include a two-week window of priority booking.
In this connection it’s worthwhile mentioning that membership schemes are not a new phenomenon,but in another unexpected development in our financially strapped but culturally rich times, people with a bit of spare cash are now joining our major arts organisations in order to secure the hot tickets of the moment;this doesn’t just apply to theaters; Tate has 105,000 members whose annual subscriptions give them access to special events and it’s the same story at the Royal Academy, which has 95,000 friends and notices a “significant” surge in take-up during big shows, as visitors seek to beat the crowds.
Speaking of this situation it is also interesting to note that theater has become a victim of its own success, because the National and the RSC have established such a reputation for quality, each season announcement is greeted with fervent excitement and people want to book tickets, and some are prepared to pay extra in order to ensure that they can.
In conclusion the author of the article expresses the view that on the other hand, the dominance of priority-bookers can cause frustration for the less-committed or less well-heeled theatergoer – exactly the broad audience that the big subsidised houses are committed to attracting.
As for me I think that situation is very unclear , because on the one hand theater becomes more successful and popular , while on the other it is difficult to get a seat. So that it is necessary to find a solution fo this newly established problem.
FAIR!
ОтветитьУдалитьWhen rendering, try to paraphrase as much as possible.
The impression is that you just re-write pieces of the article without changing them.
Slips:
The article carries a lot of comments on THE successive rise in West End box-office revenues.