I couldn't actually remember whether the Dorfman has its own box office, separate from the main one. It's a while since I was there! With no clear information on the venue website, I was glad to find a TripAdvisor review saying it does - see, they're useful! Took the bus in good time: just as well I did, because - with dreadful traffic - my journey took 50% longer than Google Maps had predicted, and I'd have been late, else. As it was, I was the first there - well, almost, as someone I hadn't met before introduced herself as a new member. Our organiser arrived, in the event, slightly late and quite breathless - seemed to be the evening for it! Anyway, he'd planned a quick trip up to the overhead walkway, so we accompanied him.
Stairs or lift - it's only on the second floor, and the lift turns out to be quite slow. It was well worth the trip though, even though we didn't stay long - apart from the permanent exhibitions, you find yourself looking down on the workshops, where you can see all the things they're working on! As he remarked, it's more interesting midweek, when you can actually watch them at work:
..And after a brief look around, we nipped downstairs again, to meet the others in the crowded lobby. Some got drinks, though with the queue at the (small) bar, I didn't bother. We did note the signs, however, that warned us that the production is nearly 3.5 hours long, and there are two intervals - the bar closing at the end of the first. Large bags also not allowed - one of us had to check her rucksack. With most of the group sitting in the pit, we agreed to meet in the lobby for both intervals.
I was up in the gallery, which was quite ok - I did miss a bit of the stage, and although legroom was fine, it was a bit snug when people wanted to pass:
Our organiser chose this event, it seems, because he liked the playwright's last work. Apparently, its characteristics were "nothing happened" and there was some review that talked about pauses. In brief, I can say - in this long, long production - that she is writing to type. The plot revolves around a young couple, up from New York and visiting Gettysburg for a few days, because he has a passion for the American Civil War. They're having relationship issues - as is soon evident - and are trying to use this break to patch up their difficulties.
The scene is a guesthouse, run by a little old lady. The place is overrun with figurines, dolls.. in this, I have to say, it seems quite accurate; I remember staying in a b&b years ago called the Bosun's Locker, which was absolutely cluttered with paraphernalia related to sailing (it was on the coast). Think it's closed now. Anyway, point is, b&b owners seem to love the stuff.
Cutesy touches include the little old lady opening and closing the curtains herself, at the start and end of every act. Oh, and the passage of time is denoted by her moving the clock hands, as the light shining through the window changes character. We meet one more character, and a few are mentioned, but not seen. Indeed, we spent the whole of the first act wondering when we were going to find out about "John". Never fear, we soon do.. mind you, as one of the characters remarks later on, everybody knows somebody called "John"!
You could call this an introspective play. There's much wistful talking about stuff - and several long pauses. For most of these, the landlady kindly has music playing in the background. Never fear, the action does heat up as the play progresses, and by the end I found I was getting into the rhythm. Some never did, and it won't be for everyone. But I liked the quietness of it - reminded me of long hours spent in the countryside, in my youth. Now, if I wanted to delve into the deeper meaning of the play, there is a wealth of it.. for example, the imagery of the dolls, and the scene where the young woman in the relationship acts like one, having to be carried by her boyfriend. And you could wonder why "John" is so significant - when you find out who he is, it might give you some clues.
I found this very interesting. Recommended if you like to be challenged. Runs until the 3rd of March, last date sold out - as is the 21st of this month. Limited availability for most other dates. Afterwards, most of our group was left - but not all. Indeed, it not suiting everyone had worked very well for me, as the person to my left had had enough after the first interval, and the pair to my right left after the second: so I had tons of space! (BTW, don't run off at the second interval.. you might find it interesting to stick around for a few minutes.)
With the bar closed, and it being quite late, we made our ways home. And then I went to bed, ready for an early-morning U2 ticket sale. Mostly successful - four out of seven (see, it is possible!). And tonight, my now-nearby venue, finally - I'm at Sadler's Wells Sampled. Hey, I can walk there and back..
Tomorrow, I'm finally back with Anthony's Cultural Events and Walking Activities Group (fairly trips off the tongue, that!) for a free walk - Secret Diaries and Public Spaces: the Legacy of Pepys and Wren. As run by Walk London. I had a great time with this group before - it's a shame they so frequently clash with other things I'm doing.
On Sunday, another walk, with Funzing, via Walking in London - Forgotten Old London is one I've had my eye on for a while. And that evening, someone suggested a classical concert in King's Place - well, whyever not? So I booked. Close enough to walk home after, too.
And on Monday, back with Up in the Cheap Seats, at Hampstead Theatre, for Dry Powder.
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