The Gloomy State of London Theater : Stage: Critics cite a lack of quality shows. Others say low seasonal ticket sales, closures go with the business.

A spate of show closures and bad notices have sent the West End into one of its worst slumps in recent years, say observers in London’s theater heartland.

Hit by poor ticket sales, theater industry executives are blaming a combination of factors that include the recession, unusually warm weather and the general up-and-down nature of the business.

Critics blame a dearth of good productions.

Also blended into the unhealthy mix plaguing the theater district is the rising cost of tickets, which have reached record highs. The average asking price of a theater seat (as opposed to the average price paid) has just crossed the 20 ($36) mark.

Among the shows that recently pulled down the curtain was “Reflected Glory,” starring Albert Finney, who walked out after claiming he hadn’t been paid in weeks. It was Finney’s abrupt departure that brought the current state of London theater to public attention.

Other shows that recently announced closing dates include “Some Like It Hot,” a musical revival starring Tommy Steele, “The Blue Angel” and “The Cotton Club.” “Aspects of Love,” an Andrew Lloyd Webber musical, closes Saturday.

“It’s very cyclical,” says Susan Whiddington of the Society of West End Theatre, downplaying the situation. “Shows open and shows close. It’s not dire.”

Roger Filer, managing director of Stoll Moss Theatres Ltd., which owns 12 West End theaters accounting for 30% of all seats, also subscribes to the cyclical theory. He concedes, however, that this time “the low point is lower than it has been previously.”

The shows that recently closed will soon be joined by others, Filer says. “I won’t tell you which ones,” he says, “but there will be more.”

Critics have another view of recent events.

“At the moment, the West End is looking grim for a variety of reasons,” wrote Michael Billington in the Guardian. “Too many tacky shows. Too little value for money.”

Jeremy Jehu, editor of the Stage trade paper, said there are no new “grand event” shows that will become a must-see for tourists. “There isn’t anything they can write home to the folks about back in Wounded Knee or wherever,” he said.

Stoll Moss’ Filer said he had returned from New York, where he found Broadway “vibrant” and added, “the contrast, here, sadly, is quite marked.”

However, critics note that one does not have to cross the Atlantic to find some of that vibrancy and contrast. While the West End has been suffering, several London stage productions mounted outside the West End by the National Theatre and the Royal Shakespeare Company have been performing to critical acclaim and sellout business. These include “The Madness of George III” at the National and the Shakespeare Company’s “Henry IV” at the Barbican.

For theatergoers, the current state of the West End translates into widespread availability of tickets, often at discount prices. While a few grand musicals such as “Phantom of the Opera” and “Les Miserables” remain tough tickets to secure on short notice, most West End shows usually have seats available the night of the performance.

Last Friday, for example, there were a few tickets available for that evening’s performances of the major musicals “Cats” and “Miss Saigon.” Tickets for virtually all drama productions in the West End were easily obtainable.

Notably, seats were available in all price categories for two new productions, “Deja Vu,” the sequel to John Osborne’s groundbreaking “Look Back in Anger,” and “A Slip of the Tongue,” starring John Malkovich. Critics panned both shows.