TODAY MISS PAT IS TAKING HAMMY AND BUBS TO SEE TOVES
Tom_In_Oz_: @demelza2 @tmarkstahler @markmmerrett are you ready for the BIG EVENT?
demelza2: @Tom_In_Oz_ @tmarkstahler @markmmerrett yes xxx woo hooo x
TMarkstahler: @demelza2 @markmmerrett @rudehamster HAVE GREAT FUN, YOU THREE!!! BIG HUGS!!! :-)x
Tom_In_Oz_: @TMarkstahler @demelza2 @markmmerrett @rudehamster have BIG FUN and remember TM and I live vicariously through you three x
TMarkstahler: @Tom_In_Oz_ @demelza2 @markmmerrett @rudehamster That is so true! Unfort Tommy and I don't have lives of our own. We rely on your adventures
Tom_In_Oz_: @TMarkstahler we spent 6 months making the @MarkMMerrett faster, stronger, independent and now we get the misery of watching him have a better life than us? WHY OH LORD, WHY? btw hope the pics are fab!
TMarkstahler: @Tom_In_Oz_ The Double-Toms have to stay at home while the wicked step-brothers meet price charming w fairy godmother. That's CINDERFELLA!!!
lolliepoppster: @russelltovey mine have split due to burning them on coffee last week, may I suggest Elizabeth Arden 8hr cream? Bloody Marvellous
russelltovey: @lolliepoppster ears or lips? X
_borntodie: it'd make my day if @russelltovey tweeted me
russelltovey: @_borntodie :-) x
russeltovey: RT @theianjarvis: Me and @izzboll just saw 'Sex With a Stranger'. Now asking some pretty searching questions. If anything we're stronger
angel0712: @russelltovey I'm not going to bed until I get a tweet from you. x
russelltovey: @angel0712 sleep well Chi x
lovethetheatre: Can't believe I waited nearly 45 mins 4 @russelltovey to come out stage door after the show last night to b told he had left via the front.
russelltovey: @lovethetheatre apologies!! I had mates in x
The theatre is tiny, with the audience on the same level as the actors - they are literally close enough to touch; the audience exits treading over Ruth’s (Naomi Sheldon’s) shoes and mobile phone. This intimacy allows a naturalistic and detailed mode of acting: every tiny flicker of an expression registers; the actors are almost in close-up - yet Golaszewski undercuts this by presenting the story in broken fragments of scenes, jump-cutting backwards and forwards in the story, making the audience piece it all together.
The technique is cinematic but perversely, as Golaszewski pushes it to extremes even television wouldn’t pursue, it becomes highly theatrical. The anti-chronological development scrambles the emotional flow for the actors as they have to present widely varying emotions and interactions within split second changes. This clearly also presents challenges for the technical team, which they rise to with aplomb (as do the actors - there are lots of clothing changes: Mr Tovey is memorably down to his pants in one scene. I think “theatrical viagra” is the term I’m searching for).
As the play progresses we begin to understand this is about a relationship in crisis but in denial - what is unsaid becomes more important than what is said. The play delivers some magnificent pregnant pauses - Ruth’s silent entrance with an iron and ironing board is a stunner (as is the ending of the play). Golaszewski’s trademark off-kilter humour shines throughout.