THERE’S no business like showbusiness, especially if it’s West End theatre.

Even when the congestion charge and the July bombings could so easily have conspired to keep bums off seats, London theatres have played, hoofed and sung their way to the fullest houses since records began 20 years ago.

Box offices have never been busier, figures for 2005 show. From Billy Elliot to Guys and Dolls they have been packing them in: during 2005 a record 12.1 million customers, compared with 10.1 million in 1986, spent a total of £375,163,339 on London theatre tickets.

Even Gordon Brown, the Chancellor, is dancing a jig, having collected £56 million in VAT receipts.

Theatreland feared the worst after the bomb attacks, particularly as numbers did fall shortly afterwards, but audiences returned in force.

Figures for 53 theatres were compiled by the Society of London Theatre, which represents producers, theatre owners and managers of the biggest commercial and grant-aided theatres in Central London. Richard Pulford, the chief executive, said: “The whole of the centre of London is in crisis. Shops are not doing business. Cinemas are empty. But Billy Elliot has sold out, you can’t get a ticket for Guys and Dolls for love or money.”

While a third of audiences came from Greater London and a third from the rest of Britain, the rest came from overseas. The Americans are returning, along with visitors from the Far East, Scandinavia and Russia — if only for musicals. Each tourist racks up an average of 3.6 trips to the theatre during their stay in London.

While ticket sales for musicals increased by 4.9 per cent on last year’s figures, plays had an even better result, jumping 5.1 per cent. The total attendance for all forms of entertainment on the London stage — comedy, opera and dance as well as plays and musicals — rose 3.9 per cent on 2004.

In contrast, cinema admissions in London dropped in 2005 to 41.3 million from 44.2 million the previous year.

Audiences have been further seduced by film and soap stars. Ewan McGregor, Scotland’s biggest export since Sean Connery, drew crowds for Guys and Dolls; and his role has now been taken by a former EastEnders actor, Nigel Harman.

Rosemary Squire, president of the Society of West End Theatre, said that casting stars boosted box office takings: “It brings in a different audience.”

Productions have also been particularly lavish. The combined costs of five new musicals, including Billy Elliot and Guys and Dolls, that have opened since September 2004 is estimated at £20 million.

But money is no object for theatregoers. The Society for West End Theatre was particularly surprised to find that they are increasingly asking for the most expensive seats, up to £55, compared with the lower end of around £12. Mr Pulford said: “They’re not asking, ‘What’s the cheapest you’ve got?’ They want the best.”