Shows and concerts selling out as Adelaide audiences flock to return to the theatre
Shows are selling out within days as Adelaide audiences flock to return to theatres with COVID-safe restrictions in place.
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Adelaide audiences have shown they are eager to return to theatres with tickets for the first two major shows announced since COVID-19 restrictions were eased both selling out.
On the eve of its official opening performance at the newly reopened Her Majesty’s Theatre, State Theatre Company’s production of Gaslight has sold out its entire season.
The company has now added an extra matinee performance at 2pm on September 19, with tickets available from BASS.
Adelaide Symphony Orchestra has sold out its performance of Natsuko Plays Beethoven at the Festival Theatre, also on September 19, just one week after tickets went on sale.
About 70 per cent of tickets have already been sold for State Theatre’s next play Ripcord, at the Dunstan Playhouse in November, with a number of performances fully booked.
“There’s an amazing keenness among South Australians to get back to live performance, which just shows what an important part of our social lives it is,” said State Theatre executive director Julian Hobba.
“Audiences have definitely been wary to assure themselves that the show is being presented with all the right health measures in place, but with that assurance … they’ve been very eager to get back.”
Only a handful of tickets remain available for each of actor and singer Tom Burlinson’s recently rescheduled Swingin’ the Great Standards shows at her Majesty’s on October 16 and 17.
Tickets for the Music at the Maj series of concerts in October and November have also sold strongly, with limited tickets still on sale for each show.
Children’s show The 91-Storey Treehouse is also selling well for its season at the Festival Theatre from September 28 to October 2, as is Windmill Theatre’s 10th anniversary production of Grug at the Playhouse from October 6-10.
Seating for all performances is currently in a checkerboard pattern, with a seat left empty between each patron to maintain social distancing.
Her Majesty’s now has almost double the capacity of the Playhouse, where Gaslight was originally going to be staged, meaning that even with social distancing State Theatre has been able to maintain its audience numbers.