This brings the dress circle price down to £41.50 and the front upper circle to £31 - but the best bargain has to be the back two rows of the upper circle at £12.50 (no subtitles visible). You won't get anything cheaper than that.
The main drawback with Time Out offers is that you don't find out which seats have been allocated until you pick up the tickets on the night - and £31+ for anything behind the front couple of rows is not a great bargain.
LondonTheatreDirect.com have a very limited allocation of seats for La bohème, The Barber of Seville and Medea in all areas of the theatre at half price (plus £3 fee).
Ignore the 'save £29' and similar banners on the site, because most of the discounts are even higher. Just pick the number of seats you want for the selected date, and you are shown exactly which seat numbers are available, and how much they cost. Brilliant.
Bear in mind that, as ever, bigger discounts will probably be available on the day at the TKTS booth (availability not guaranteed).
Here's something to make Jonathan Miller even grumpier. Get 50% off seats for his two upcoming ENO revivals, La bohème and The Barber of Seville, with DiscountTheatre.com.
Their ticket allocation includes Stalls, Dress Circle and Upper Circle, though not all areas are available for all dates. You don't get to pick your seats, but you are told exactly which ones have been allocated.
Bookings must be made by 2.30pm on Friday 15 February.
When Rodolfo sounds more consumptive than Mimì, you’ve got a
problem. Post-surgery, Rolando Villazón has had his ups and downs, but he was
singing much better in Salzburg this summer than he could manage last night in the 999th revival of John Copley's La bohème.
The notes were (mostly) there; the volume wasn’t. Despite Mark Elder’s
considerate restraint, the orchestra often washed over him, and he bottled a
few key phrases, not to mention their money notes. I can only hope for Rolando’s
sake it was just an off night, perhaps a touch of the respiratory lurgy that
seemed to afflict half the audience.