torstai 26. syyskuuta 2013

Käyt paljon teatterissa kun...

Yksi kiinnostava brittiteatteriblogi, jota seuraan epäsäännöllisen säännöllisesti, on The Other Bridge Project. Kritiikkejä ja kaikkea muuta Lontoon (ja muun Britannian) teatterimaailmasta.

No, toinen teatteriblogi, Rev Stan's Theatre Blog, aloitti tämän teeman jo aiemmin eli mistä huomaa että käy liikaa teatterissa (soveltaen sopii mullekin!):

You are relieved to find out that the play is only 90 minutes long 

You know which 'restricted view' seats are actually not very restricted 

You know the quick route to the loos to beat the interval queue or in the case of the National, which loos to go to where there is never a queue 

Some of the actors you get excited about seeing on stage your non-theatre friends have never heard of 

You join discussions on Twitter about the various merits of the different theatres membership schemes. 

You share membership schemes with theatre friends to save money. 

Getting into town to sit on the cold step of a theatre for two hours or more to secure a day seat doesn't seem mad. 

You'll jump on a train for two hours to attend a matinee outside London 

You buy tickets for whole seasons in one go and get a little bit stressed

You discuss ticket buying trials and tribulations on Twitter. 

Actor/director spotting in the audience becomes an almost regular occurrence and you have at least one story to tell about when you sat next to/behind/in front of someone famous 

You recognise the theatre critics. 

Niin, ja tässä on sitten jatko-osa eli The Other Bridge Projectin vastaava listaus:

You instinctively know whether you can make it from a rehearsed reading that finishes at 6:50 to a play across town that starts at 7:30.

You know the shortest queue for the loo at each theatre (particularly important for the National and the Donmar)

You recognise actors behind the bar of various establishments

You haven’t used the main door of the Royal Court in five years.

You mourn when your favourite performance space closes.

The odd evening you are not at the theatre you insist that your friends text you at the interval details of the play they are seeing.

You have double booked yourself more than once.

You know by heart the theatres that will refund the price of a ticket with minimal fuss.

More than once, you have booked tickets on a less than suitable date / less than ideal seat with the intention of exchanging them if the tickets you want become available. (This goes hand in hand with point 8).

Sums of money only make sense if you equate them with number of plays you can see if you spend the money on tickets.

And with that final point, which makes it obvious what charmed and privileged lives we lead, I will stop.

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