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This House

Cottesloe

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#91 fringefan

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Posted 11 March 2013 - 05:18 PM

I know there have been comments elsewhere here (see Longing thread) about the mysterious non-resale of returns for sold-out plays and the fact that single tix may be a particular problem, but could anyone please suggest how best to re-home a spare for This House this coming Saturday, 16 March, evening performance?  My OH asked me to book a pair for him and his friend but now the friend won't be going after all, which seems a terrible waste of a ticket - even a £12 Travelex one, in the front row, which this is.  My OH isn't even bothered about losing the money, which is obviously his business, but I find it hard to stand by and see the opportunity wasted.  I'd go again myself but am already seeing other things that day.

#92 Coated peanut

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Posted 11 March 2013 - 08:03 PM

You could try @twickets. They re-tweet any tickets offered at face price or less ( tweet with #twickets and they pick it up for retweet) Seems to be mainly gigs, but I've seen the odd theatre tickets in there.

My best return so far was giving a ticket to a Big Issue seller outside the Coliseum since the ENO is a bit funny about returns. He was contemplating selling it on, then looked at the ticket, noticed the performance and went "Oh, it's Carlos [Acosta], I think I'll go and see him myself".

Saw the first preview for This House in the Oliver (slick play for preview price, yay) and really liked it. The staging worked well, including the moving 'benches'. I knew very little of 70's UK politics when I went in, which probably made he play more interesting to me. Liked the pace and the performances and thought it worked well in the Olivier, but I hadn't seen it in the Cottesloe so can't compare.

Felt slightly sorry for American tourists during the intermission who were talking about getting lost with all those funny place names and accents.

#93 fringefan

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Posted 12 March 2013 - 05:45 AM

Thank you for the suggestion re twickets, Coated peanut.  Can't see my OH setting up a Twitter account at all (he resists my encouragement), let alone in time, but worth at try!

#94 fringefan

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Posted 15 March 2013 - 05:17 AM

I/we still have this potential spare for tomorrow evening.  If the worst comes to the worst, I shall try to encourage OH to approach people in the returns queue (assuming there is one), rather than just waste the ticket.

#95 Alexandra

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Posted 15 March 2013 - 11:05 AM

What a shame. It's transferred brilliantly and is very good fun if you have some idea who these people are, as well as poignant at times. You can return tickets to the NT you know, but maybe not this late.

#96 Theatresquirrel

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Posted 21 March 2013 - 08:08 AM

Why oh why does everything in the Olivier these days have to be a musical?

This is a long play which would be okay in itself but they needlessly pad it out at least quarter of an hour with a succession of rock songs, part songs and a slew of curious choreography.

Why?

Trust the play.

It's good enough in itself, although already somewhat repetitive (how many times do we see someone ill carted in, or hear the aristocrats gag?) so all the superfluous extra stuff really weighs it down. Added to this the constant shifting of the onstage audience benches which again must add a good 5/10 minutes, the number of times we watch them clumsily shoved back and forth. It could easily be over by 10 o'clock and leave you wanting more rather than feeling like you've literally been dragged through the Seventies.

I wonder how much of this padding was in the Cottesloe?

Big shame because the acting's great (especially Helena Lymbery who more than holds her own against the men in a multiplicity of roles) and there's a lot of peppy dialogue in the script.

#97 Alexandra

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Posted 21 March 2013 - 08:54 AM

"especially Helena Lymbery who more than holds her own against the men"

Heavens, really? Extraordinary.

#98 Polly1

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Posted 21 March 2013 - 09:19 AM

I was on the Opposition Front Bench yesterday afternoon (never thought I'd say that!) so not only did I not have to watch them being "shoved" but the choreographed bits were fantastically exciting from where I was sitting! (The sight of one of the punks from the band on a screen conducting 'I vow to thee my country' was a bit surreal however...)
Maybe because of my proximity, but I thought this was the best thing I've seen for ages. Very funny, touching and great ensemble acting - plus the chance to sit on the Olivier stage :)

#99 PaulR

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Posted 21 March 2013 - 09:38 AM

I have to agree with Theatresquirrel regarding the 'padding'. Enjoyable but a touch repetitive and  I would have preferred it to be 20 minutes shorter.' which I think it could have easily been. I liked the band especially Phil's rendition of 5 years.

#100 Lynette

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Posted 21 March 2013 - 01:29 PM

View PostTheatresquirrel, on 21 March 2013 - 08:08 AM, said:

Why oh why does everything in the Olivier these days have to be a musical?

This is a long play which would be okay in itself but they needlessly pad it out at least quarter of an hour with a succession of rock songs, part songs and a slew of curious choreography.

Why?

Trust the play.

It's good enough in itself, although already somewhat repetitive (how many times do we see someone ill carted in, or hear the aristocrats gag?) so all the superfluous extra stuff really weighs it down. Added to this the constant shifting of the onstage audience benches which again must add a good 5/10 minutes, the number of times we watch them clumsily shoved back and forth. It could easily be over by 10 o'clock and leave you wanting more rather than feeling like you've literally been dragged through the Seventies.

I wonder how much of this padding was in the Cottesloe?

Big shame because the acting's great (especially Helena Lymbery who more than holds her own against the men in a multiplicity of roles) and there's a lot of peppy dialogue in the script.

In the Cottesloe there wasn't any shifting of benches as they had the benches down each side of the floor. So sad they have to move furniture in the Olivier. Music? There was some but it didn't obtrude. If you fancy all talk, go to The Winslow Boy at Old Vic. I tend to agree re too much extraneous sound, the worst thing is when they play that muted twang to highten the tension as if an actor couldn't do it with acting. That is really horrible. I'm agin sound effects in plays but I don't mind the odd live band if vaguely relevant.




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