National Theatre Tests Higher Prices as Audiences Drift Away

Dec 13 , 2025. By SURAFEL MULUGETA ( FORTUNE STAFF WRITER )

For the first time in years, the National Theatre has raised ticket prices and hall rental fees, a decision approved by the Council of Ministers on November 29, 2025, after being implemented internally two months earlier. Entrance fees rose from 80 Br to 200 Br, marking one of the major pricing shifts in the institution’s nearly 70-year history.

The National Theatre, Addis Abeba's cultural and artistic landmark for seven decades, has embarked on a bold pricing overhaul, raising ticket and hall rental fees in what is being described as the most substantial revision in its recent history.

While approved by the Council of Ministers and grounded in a cost-recovery logic, the decision has triggered a fresh debate over value, access, and the long-term viability of the performing arts in a rapidly transforming urban context. Formalised on November 29, 2025, after internal implementation two months earlier, entrance fees have jumped from 80 Br to 200 Br.

Rental charges for the Great Hall, which has hosted performances, inaugurations, and major public events for decades, also increased. The National Theatre rents its hall three days a week — Monday, Saturday, and Sunday — remaining almost fully booked. Weekday rentals now range between 9,000 Br and 70,000 Br, while weekend rates run from 13,000 Br to 45,000 Br, depending on the event. Fees for plays jumped from a previous 3,500 Br to 5,000 Br to 6,700 Br to 15,700 Br on weekdays, with Saturday rates between 10,000 Br and 18,000 Br.

Despite the price hike, the National Theatre, currently managed by Bareke Tadesse, continues to struggle with shrinking audiences. This trend, which management and theatre veterans saw begin long before the recent changes, remains a major concern.

“The new price didn't show a big difference," said Tesfaye Gebre-Maryam, a producer with more than 35 years at the National Theatre, and one of the 250 staff. "The audience number is still the same."

With over 40 productions to his name, including “Cleopatra,” “Ergum Hawariya,” and “Mistru”, Tesfaye does not see attendance levels shifting noticeably since the new prices took effect. He remembered a time when 450 people could have a show cancelled, compared with an average turnout of around 70 in recent months.

According to Kaleb Walelegn, executive director of the theatre department, the National Theatre has long been central in promoting culture and training generations of artists. However, audience numbers have dropped sharply since 2017, with a steeper decline observed since 2022. The 1,200-seat hall now averages between 50 and 100 attendees a show, compared to much higher figures in the past.

With over 32 years of experience in acting, producing, and managing, he remains nostalgic about the era 10 to 15 years ago, when Sundays were full. If one theatre had fewer than 700 audience members, the show would be pulled. Now, even on Sundays, the house has fewer than 300 people.

“We're an art institution. We work with people. Many customers used to say the prices were very low," he said. "We made adjustments based on research and applied for approval three years ago.”

According to Kaleb, who has worked in theatre since 1993 across Hager Fikir and the National Theatre, the previous rental fee was unsustainable, and the revised rates are intended to encourage producers to invest more in marketing and audience development.

However, Tesfaye is yet to be convinced that the Theatre’s ageing infrastructure is to blame.

“It can handle anything if we've creative and hardworking writers and producers," he told Fortune. "It’s all about using it the right way.”

Research conducted by the management three years ago showed that the decline in attendance is not primarily due to ticket prices. Kaleb attributed the drop to changes in audience behaviour after COVID-19 and the redevelopment of city corridors in Addis Abeba, which displaced many regular patrons.

"We need to conduct fresh research," Kaleb told Fortune. "If further adjustments are necessary, we're willing to do that.”

Tesfaye voiced his hope that a long-awaited new theatre hall would improve production quality and working conditions. Still, he argued that dwindling audiences are not a recent phenomenon and are not linked to ticket prices. The increase in hall rental fees, he argued, was mistimed and "unwise" before addressing the audience problem.

In other places, hall rent is based on a percentage, protecting producers from unforeseen losses. In Alem Cinema, on Africa Avenue (Bole Road), a revenue ratio of 65/35 split and the Children & Youth Theatre, on Queen Elizabeth II St., takes a 20pc share, leaving the remaining to producers.

Not everyone at the National Theatre shares Tesfaye’s views. Amanuel Worku, an actor and assistant producer with more than four years at the Theatre, sees the price adjustment differently. A graduate of Addis Abeba University who has worked on five productions, including “Nigus Armah” and “Baburu,” Amanuel believes initial concerns that higher prices might scare off audiences have not surfaced.

“There was some concern about the new fee pushing audiences away," he told Fortune. "But, there is no difference in the number of people coming to the theatre.”

For him, the new pricing scheme accurately reflects the value of artistic labour and the importance of the institution.

“The change in the entrance ticket and hall rent is right and necessary," he said. "It’s a way of showing respect for the artist, the hall, and the audience.”

Amanuel hopes that increased revenue could help the Theatre address persistent problems related to lighting, sound, and stage conditions, noting that mounting a single performance can take six months to a year and cost upwards of half a million Birr.

“There are very talented artists here," he said. "We need the hall to handle their work, and it won’t limit their artistic freedom.”

The audience appears to share this sentiment, at least for now. Haylu Abera, a taxi driver who arrived 30 minutes early to watch a recent performance of “Yekrb Eruk,” found the new price justified, even though he previously paid 80 Br.

“Theatre in other countries is considered luxurious, but in our country, it doesn’t get the attention it deserves,” he said. "However, frequent ticket adjustments could eventually alienate patrons."

According to Nigus Bayle, an actor at the National Theatre for more than 14 years and producer at Nigus Multi Media, the revised fees were overdue. Nigus, who has worked on productions such as “Sostegna Chlot,” “Kiteltel Kokeboch,” and “Nigus Armah,” believes the decision was based on years of research and government approval.

“I think it is necessary, and it was delayed for a long time,” he said.

Theatre revenues rarely cover production costs. Government funding is provided upfront, but revenue first goes toward repaying loans before artists receive their payment. Writers receive 30pc, producers between 10pc and 15pc, and actors between 12pc and 18pc, depending on agreements reached after loan repayment. Many productions struggle financially due to low attendance.

“The main struggle is falling audience numbers," he told Fortune. "We need a solution for that.”

Established in 1955 on Gambia Street as a central venue for drama, music, and dance, the National Theatre has a rich history. The theatre was initially launched as Cinema Marconi during the Italian occupation between 1936 and 1941, and seated about 350. It was later expanded to seat roughly 1,200 for Emperor Haile Selassie’s 25th Anniversary and renamed the Haile Selassie I Theatre. Over its 70 years, it has staged more than 185 full productions.

Efforts to modernise the Theatre have been underway since 2019, with plans to build a new 12-storey structure on a 7,000Sqm plot behind Awash Bank and Awash Insurance. The project, estimated to cost 1.5 billion Br, will replace the current facility. Delays caused by contractor disputes have slowed the new construction, but it is expected to open within two years, offering modern facilities that meet international standards.

For Manyazewal Getachew, a guru in the theatre scene and lecturer at several universities and a former manager at Agona Cinema, the ticket price adjustment is “a good and right decision.” He believes that higher ticket prices can motivate artists to produce stronger work and give audiences the sense that their experience is worth it.

“The audience deserves more than what they pay for," said Manyazewal, who has a PhD in performing arts. "They should feel the work is worth more than the ticket price.”

However, he argued that for the price changes to succeed, there is a need for continued audience assessments, a clearer understanding of expectations, and benchmarking against other theatre houses. He also called for improved customer service, facilities, materials, and promotion. Building the Theatre as a shared cultural experience, engaging young people, working with schools and companies, and positioning the National Theatre as a landmark, will be crucial to ensuring the new pricing is fair and meaningful for artists and the public alike.

PUBLISHED ON Dec 13,2025 [ VOL 26 , NO 1337]