theatre seat
…playwrights can make anything: any situation, any location, any personality trait, any personality type, any occupation, any sport, any relationship or flawed relationship – anything that is human experience into entertainment.

….great set design can literally take you into another world.

…..it shows how great dramatic writing and clever direction can immerse you in a story using only limited resources: no explosions, no CGI, no SFX. (Just five actors in one space, a few carefully chosen props, a harmonica or maybe two cellos and a voice.)

……..close proximity to the actors means you feel their energy, their power, their strength. They can “look” you in the eye and that bond between the audience and the performers is held until the very end of the play. There’s no adverts, no rushing off to put the kettle on, no rustling of popcorn, or sweet wrappers, or ice. This makes for an hypnotic, all consuming extended break from your own consciousness.

…..you become mesmerised and awed by the craft of acting. The words are not their own, the emotions are not their own, maybe even for that 90 minutes their thoughts are not their own. You consider the possibility of this because the actors are the characters. No slips, no joins, no doubt.

……..great movement means actors dance, fight, climb, fall and fuck – but they don’t!  Though the grace, the care, the power, the terror, the passion is there.

…….you never forget that time you went. You had to catch a train, walk, catch a bus, drive, share the experience with someone you cherish or someone you respect or both. It was so much more than clicking the remote, or the mouse, alone.

………..you leave with a head full of memories, a mouthful of questions and the fresh and vital vision of people clapping, smiling and brimming with glee. This nourishes the soul more than any 5 star review or 140 character #rave.

Inspired by all of my theatre experiences but most recently, The Royale, Bush Theatre and Carmen Disruption, Almeida Theatre.