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rich benefactors are easily entertained? And are those that require the cheap seats?

cough, SMS, and whispers sweet talk of the means by which the public can affect performance. But viewers may also have an impact on the atmosphere by the amount of money they pay? It was the playwright Polly Stenham intriguing suggestion, when I interviewed last week for Front Row.

We talked Tuesday morning, the day after previewing at the Royal Court in London in No Quarter, which - after 2007 Tusk Tusk That Face and two years later - completes a trilogy of works on the informal relationship between children and parents physically or mentally absent. Stenham noted that there was less heat and the laughter of the audience than in previous shows, and attributed this to the fact that on Monday night at the Royal Court offers a reduced access ? 10 per ticket. Stenham felt - and the actors who have been in court indicates otherwise agreed - that people are often more cautious and ten pounds more demanding than other groups, somewhat difficult to impress

This first I was surprised because the theory behind discounted tickets regimes - including the National Theatre Travelex price reduction seasons now costs ? 12, ? 10 and the positions offered by now the Michael Grandage West End - is attracting new or casual viewers, and the usual rule of negotiation is that bargain hunters have less right to be choosy about the products. It would be a brave dinner on a night's rest in a nice restaurant, continued to send food in the kitchen and the wine sommelier.

And Stenham raises the more general question of whether there is a general correlation between the entry price and responsiveness. What happens, for example, viewers who have paid the highest price for the "premium tickets"? They have spread from London to Broadway in a sort of imitation of train and airplane systems class (but with the difference that the design and seat position is exactly the same as when they were less expensive).

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