The Greatest Showman #951 - Snap 1 Empty

The Times: "Breaking News: London's West End Returns to the Public Eye - Long Queues Cause Traffic Jams to Recreate the Golden Age of Theatre!"

As the most well-known and largest newspaper in the UK, The Times has felt the impact of the Internet as the new century progressed. Its authority has leveled with that of The Guardian, and it has been overtaken by The Financial Times in terms of elite readership. The paper's political influence has also been eroded by The Independent, though The Times remains slightly ahead in terms of public influence and social status.

For most ordinary people, the readability and appeal of The Times is still a major factor in its popularity. Today, in an unusual turn, The Times chose to publish entertainment news on its front page, covering a rare event.

The story centered on the grand queue at Almeida Theatre, where over 1,800 people lined up to purchase tickets for a show that went on pre-sale at 9:00 AM. The scene in London's West End was nothing short of chaotic: more than 10,000 people came and went, sparking a frenzy of interviews with over 300 reporters rushing to cover the event.

This entire spectacle was sparked by a play that had yet to open—a surreal black comedy on the modern theatre industry's struggle against the rise of fast food culture and the decline of traditional literacy. But The Times wasn't mocking. The report, rather than dismissing the spectacle, took it seriously, given the surprise it generated. The article dove into the plight of the West End over the past decade, analyzing the theatre's struggles and the broader impact of this specific production.

As it continued, the article began to read less like a news report and more like an editorial.

The Sensational Coverage Across Media

And it wasn't just The Times that was reporting on the phenomenon. The official pre-sale of tickets for the Almeida Theatre had sent shockwaves across the UK media landscape.

In an article titled "Who Are the 350 Pre-Sale Tickets Going To?", The Guardian focused on the extraordinary nature of the event. It highlighted the fact that in the last five to ten years, the attendance for new plays in the West End had declined sharply, with some shows struggling to fill even 20% of seats. Even critically acclaimed productions, whether they had won Oliver Awards or Tony Awards, faced diminishing box office returns.

An example was drawn from the performance of Equus in 2007, starring the young Daniel Radcliffe. Despite the media buzz surrounding the actor's role, the play's box office performance had been strong, with tickets selling out quickly. However, after the premiere, sales dropped sharply. Even high-profile shows like Les Miserables, running for nearly three decades at the Queen's Theatre, still relied on tourist traffic to stay afloat.

In stark contrast, the Almeida Theatre's production of Les Miserables, a six-hour experimental show, had only 350 pre-sale tickets, yet 1,800 people queued up to buy them—hardcore theatre enthusiasts waiting for more than 36 hours before ticket sales even began!

"Fifteen minutes. Three hundred and fifty tickets. Sold out. In just fifteen minutes!" The Guardian reported, still incredulous. With a limit of two tickets per person, the Almeida Theatre's production of Les Miserables became a hot commodity, with tickets now being resold for as much as £3,500, up from the original £120.

The entire media landscape was abuzz. Headlines across the UK were filled with shock and awe:

"Fifteen Minutes. Premiere Sold Out!""Renly-Hall Dominates London's West End!""London's West End Returns to Glory!"

The Buzz Spreads Globally

Within 24 hours, discussions around Les Miserables had spread across social media platforms like Facebook, Twitter, and Instagram. It wasn't just a topic of conversation in the UK; Europe and North America were quickly catching on.

The excitement was not over Les Miserables itself, but rather the Renly-Hall version, which promised a daring new take on the classic. The boldness of a six-hour show, the new cast, and the three-month run were all drawing intense attention.

The Queen's Theatre's own production, despite its decades of success, also acknowledged the impact of Renly Hall's version. The theater's head producer, Cameron McIntosh, praised Renly's courage, calling the six-hour performance a "feat" and expressing excitement for the premiere.

Renly Hall's Rise to New Heights

Back in The Times, the newspaper linked the spectacle directly to Renly Hall, whose reputation had steadily risen over the years. From his dominance in films in 2011 to his Oscar win and subsequent media frenzies, Renly's career had been a rollercoaster. The article pondered whether Renly had now moved beyond the "star" label, suggesting he was perhaps evolving into something greater—a respected artist.

Unlike other rising stars like Natalie Portman or Jennifer Lawrence, Renly's every move seemed to be calculated and grounded. After the Oscar win, the question remained: Had Renly truly earned it, or was it simply the product of a fortunate "hype" moment? And now, in the challenging and less forgiving world of theatre, would his West End debut reaffirm his status—or would it prove that the hype was indeed fleeting?

The double-edged sword of public scrutiny loomed large. While Renly's performance was bound to receive critical attention, it was also under intense pressure. The drama critics, more discerning than film critics, would be watching closely.

Would the West End's revival prove to be lasting? Or would Renly's return become just another flash in the pan? There was a risk that if the show failed, it could cause a backlash against the West End, reinforcing its decline rather than ushering in a new era of success.

A New Chapter Begins

Within three hours of the second wave of ticket sales, Almeida Theatre's tickets for the following week had completely sold out. Demand remained insatiable, with requests flooding in for future pre-sales. The question now was: How long could this excitement last?