Posted 26 September 2012 - 07:11 PM
A mystery that this play should be given so short a run and not extended even when it sold out so quickly, though maybe there was no capacity in the calendar for more. As with Chariots Of Fire, I think something of the staging would be lost if it were to transfer, but it deserves to be seen by a wider audience.
Posted 26 September 2012 - 11:14 PM
Still, the bit of Margaret at the end is truly creepy. 'Where there is discord, let us bring harmony.'. Ick.
Posted 27 September 2012 - 03:58 AM
Posted 28 September 2012 - 08:30 AM
I enjoyed this show immensely, possibly because I, in a very small way, became one of the opposition at one point near the end. But also because it's a damned good play, and a wonderful cast. The two ladies giving a brill performance
Posted 28 September 2012 - 08:53 AM
Posted 10 October 2012 - 08:07 AM
Posted 10 October 2012 - 08:20 AM
Yep, v strong reviews. 4* Guardian, 5* Telegraph. Best new play Olivier nomination on its way I bet.
Posted 10 October 2012 - 11:39 AM
I smugly called this (on twitter) whilst moaning that Damned By Despair was taking up vital This House space . Considering it was a sell out in such a small space it had to do a Collaborators (plus the rave reviews this morning) and transfer to a bigger space. I also trust Rae Smith not to lose too much of the stage design in transfer.
Posted 10 October 2012 - 12:04 PM
To digress, I spoke to one such fan, with 8 tickets over the run, who was irate that supposedly "unreserved" pit seats were being corralled into specific benches based on obscure and indecipherable numbers on the tickets. Specifically, she had queued up with a view to sitting next to Philip Glenister every performance, and on the day I attended she was unceremoniously compelled to sit on the odds and sods bench, despite her prime position in the queue. As it happened, another Glenister fan with 10 tickets over the run successfully nabbed the precious Glenister-adjacent seat. I sat exactly opposite her seat on the Government Benches, with a Government MP sat to my immediate right, and I must say Glenister barely sits down on the benches the entire show, so I can't see what the fuss is about, even if I could see what the fuss is about, if you see what I mean.
Luckily, the second half of this play ramps up the drama and personal stakes on all sides of the political spectrum, with the relationship between two of the whips from opposite sides being portrayed surprisingly tenderly, and I found that I was thoroughly engaged with the second half, so much so that I give this play 4 stars, despite the first half feeling like a day observing the commons benches for school children.
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