1,102 posts
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Post by zak97 on Oct 15, 2017 15:53:35 GMT
The play depreciates in value I'll happily go back when Mr Freeman is on and tell if it did depreciate in value. |
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Post by Deleted on Oct 15, 2017 16:39:02 GMT
My issue is charging £125 premiums This play isn’t worth £5 So I assume the charge is for the cast And they are off The play depreciates in value Offering premium tickets - of which there are never really that many - is the choice of the producers. The majority of tickets are under £60. I paid £10 - which I believe was broken down as £8.75 with a £1.25 restoration levy. There are plenty of theatregoers who are prepared to pay premium rates - they have the money and they want the best seats. I enjoyed the play, and have to say that £10 is one of the best bargains I think I have ever had for a theatre ticket. Plays are ultimately worth what an audience is willing to pay, and if Labour of Love has a successful run in terms of numbers then they will not have over-priced the tickets. The West End is a tough place to succeed, so ticket pricing sometimes has to be steep. I have more of a problem paying upwards of £50 for an NT ticket, considering the amount of subsidy and sponsorship they receive. |
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1,132 posts
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Post by Stephen on Oct 18, 2017 0:57:48 GMT
I saw Labour of Love two weeks ago and had a very enjoyable evening. Martin Freeman and Tamsin Greig are both a joy to watch however Greig stole the show for me.
Freeman's dancing was a standout comic moment although Greig has the funny lines.
Although the political plot may drag slightly I felt that the shifts in time kept the pace moving along with the musical interludes featuring news clips through time.
Does anybody know all of the songs featured? They were all chosen well, in my opinion, and were fitting to the piece. I believe we had Seven Nation Army, Ghost Town and London Calling...?
On a side note I saw this on a day ticket which I managed to get at the box office after midday on a Thursday. The box office assistant was very helpful and although the front and second rows were sold out (where the day tickets normally are) she sold me a good, central seat towards the rear of the stalls. For £10 this was excellent.
As for Martin being indisposed I can only say that meeting him afterwards at the stage door, he has a strong attitude towards this material (especially considering his personal political views as a Labour supporter) and spoke for a long time to audience members about the play after the performance. I would then assume that he is likely off for something such as injury or a prior engagement? I'm also glad to report that my suspicion of him being a little stern was far off. He is friendly, chatty, smiley, down to earth and thankful to everyone for coming.
Finally, I would highly recommend this play as a great night out with a strong cast and some witty relief from the 9-5!
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587 posts
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Post by Polly1 on Oct 18, 2017 20:06:59 GMT
Oh, but I loved this! Laughed like a drain (esp. at the Aldi canisters), had my thoughts provoked, and welled up at the ending even though it was highly improbable. Bargainaceous £10 seat in row B  a bit too close to see the projections properly but more than made up for by close proximity to the wondrous Tamsin Greig. The one thing that irritated me quite irrationally was the brass instrument as it was a) definitely NOT a flugal; b) not an instrument that any self-respecting bander would be seen out on a march with! |
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212 posts
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Post by l0islane on Oct 19, 2017 12:36:08 GMT
Freeman's dancing was a standout comic moment although Greig has the funny lines. I saw it again last night (I love this production!) and it was amusing to see how MF's 'dancing' has changed post-leg injury! His dancing now doesn't involve his feet and is just lots of over the top arm movements! The audience would never know but he is either still suffering or being far more careful! Also much amused by TG shouting 'Martin' instead of David during one of their arguments! £10 tickets in the stalls/circle are available almost every weekday on the day if you check online a few times. |
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2,452 posts
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Post by theatremadness on Oct 19, 2017 12:57:01 GMT
Saw this on Tuesday (just off centre Row B for £10, amazing view) and absolutely bloody LOVED it. I thought it was just such a wonderful play and concept, brilliantly structured and written and the 2 central performances are masterful. They have such incredible chemistry together. As most others have said, Tamsin Greig does run away with it being given some of the best lines, but she's also giving yet another masterclass in timing and line delivery. She just has it all and I could watch her forever and ever. Supporting cast were neither here nor there for me really, but I didn't care because Martin & Tamsin were carrying it all so well. Set design was a stroke of genius and I enjoyed the clips and soundtrack. All 4 levels completely packed on a Tuesday evening, with huge laughs and fantastic reception at the end.
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Post by orchidman on Oct 22, 2017 3:09:14 GMT
Enjoyable enough - the first half is rather mediocre fare, second half quite a bit stronger. That's largely because I would say if you follow politics, particularly any discourse surrounding the Labour party, there is hardly a single insight or perspective you won't have heard before. This House being set so far in the past meant Graham was able to please with quality research alone, he struggles to add much to recent and better remembered history. On the political front, the Freeman character was supposedly a cabinet minister and yet we get basically nothing on that, it's almost difficult to imagine that these characters exist outside of these scenes in this room.
The second half is more about the personal relationships, and the material there is decent, elevated to something more by exceptional performances from Freeman and Greig. Whether the play works overall depends on whether you buy the ending, not sure I did, but by that stage the audience was very much on side and went with it.
Some of the comedy is a bit tired, a couple of the punchlines had me cringing but the cast sold it. It's the kind of play that works for what it is right now at this moment with this cast and will have most people leaving happy having been entertained, and yet it is hard to imagine it ever being worthy of a revival.
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60 posts
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Post by skullion on Oct 26, 2017 23:53:43 GMT
Rather enjoyed this, decent enough story and well acted, did catch the result from the constituency I live in on the TV showing news 24 from election night!
I thought Tamsin Greig was very good, long been a fan of hers but I would like to have seen Sarah Lancashire in the role, think she would have been very good in it.
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1,103 posts
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Post by mallardo on Oct 27, 2017 8:21:31 GMT
It's interesting to watch the development of the brilliant James Graham. Both This House and Ink are big kaleidoscopic portraits of politics and the media where the protagonists are real people playing roles in real stories. As strong and as perfectly realized as those characters are they are basically functionaries of their respective plots. Labour of Love is something different.
In Labour of Love the politics is background, the protagonists themselves provide the plot. It's a romance, a love story, beautifully worked out and highly original. Graham is a master of structure and the structure of this one is, for me, quite exquisite. Beginning at the end - shades of Merrily We Roll Along - and working backward through a series of vignettes in the first act. Then reversing the process in the second act and, as we go forward again, revealing what we had not been allowed to see first time around. It works wonderfully. Many people on this board have noted that the second act plays better than the first - but that is the intention. It could not be otherwise. The second act is a continual explosion of new information about characters we have already come to know and care about. By the time the inevitable conclusion rolls around we're primed and ready.
Martin Freeman and Tamsin Greig could not be more ideal in these roles. They are so fabulously in sync in every moment of every situation, so much a team, and yet they are radically different people, never losing their quirky individuality. This is not just great acting, it's great writing and this is something we have not seen from Graham before - not to this degree. It's why I think this play is a large leap forward for him.
I'd also like mention the forgotten lady in this production, Rachael Stirling. Her character is not likeable and Ms Stirling plays her to the hilt, not shying away from the woman's dark side. But it's notable that when the two handed scenes become three handers, with her included, there is no diffusion of energy, no let up in intensity or credibility. She's giving an excellent performance.
Jeremy Herrin's production is smooth and seamless. To his credit he has not tried to stamp his own personality on it. He knows he has a terrific play to work with and simply lets it do its thing. So bravo to all concerned but especially to James Graham. His picture in the programme makes him look like he's just graduated from uni. I should resent him but I can't. He's a great writer and he's only going to get better.
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60 posts
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Post by skullion on Oct 29, 2017 17:07:06 GMT
Bit of a long shot but does anyone know the name of the song that was played at the end, as in after the lights have gone up? It might be a different song each evening I suppose but it's been bugging me for a few days!
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4,974 posts
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Post by Phantom of London on Oct 29, 2017 21:21:12 GMT
Saw this yesterday afternoon and I stick my neck out and say this wasn't as good as Ink or This House, but was mildly enjoyable with some great one liners. However I got a feeling that James Graham had to backtrack and this play was meant to be critical of new old new labour or Jeremy Corbyn if you will and James wrote this with a massive Theresa May Conservative landslide in mind, but this didn't happen, so I feel there had to be minor surgery to the script.
Loved the way how the office got updated with the latest poster and campaign slogan.
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Post by orchidman on Oct 29, 2017 22:41:22 GMT
Bit of a long shot but does anyone know the name of the song that was played at the end, as in after the lights have gone up? It might be a different song each evening I suppose but it's been bugging me for a few days! Elvis Costello & The Attractions - (What's So Funny 'Bout) Peace, Love And Understanding |
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Post by Deleted on Oct 29, 2017 23:21:16 GMT
Saw this yesterday afternoon and I stick my neck out and say this wasn't as good as Ink or This House, but was mildly enjoyable with some great one liners. However I got a feeling that James Graham had to backtrack and this play was meant to be critical of new old new labour or Jeremy Corbyn if you will and James wrote this with a massive Theresa May Conservative landslide in mind, but this didn't happen, so I feel there had to be minor surgery to the script. Loved the way how the office got updated with the latest poster and campaign slogan. I don't think so, the Nottinghamshire setting became perfect for contrasting the failure of Corbynite labour there as opposed to elsewhere and I doubt he could have made wholesale changes to the setting at such a late stage to accommodate that. |
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Post by Deleted on Oct 30, 2017 6:12:06 GMT
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60 posts
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Post by skullion on Oct 30, 2017 7:54:11 GMT
Bit of a long shot but does anyone know the name of the song that was played at the end, as in after the lights have gone up? It might be a different song each evening I suppose but it's been bugging me for a few days! Elvis Costello & The Attractions - (What's So Funny 'Bout) Peace, Love And Understanding Thanks! |
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Post by Deleted on Oct 30, 2017 16:10:00 GMT
Kudos to Graham then for not only making it work but using that resurgence as a symbol of, and a good time to have, the characters finally face up to....well......spoilers..... I suppose he would have been in trouble if he hadn’t at least had those old mining communities bucking the national trend. |
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3,532 posts
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Post by Rory on Nov 1, 2017 9:26:33 GMT
I'm sure this has been discussed before so apologies, but how does one go about getting a decent enough, affordable ticket for this? I may have a free evening in London towards the end of the month but tickets seem to be very limited now and priced at either £70 or £100 on the Delfont Mackintosh website. Are the £10 seats day queue tickets? Thanks.
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Post by Deleted on Nov 1, 2017 9:55:32 GMT
Yes, row A seats are £10 day seats. There were also £10 in the back row of the stalls and row B, but those have sold out I'm afraid.
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3,532 posts
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Post by Rory on Nov 1, 2017 10:01:39 GMT
Thanks xanderl.
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1,103 posts
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Post by mallardo on Nov 1, 2017 10:05:02 GMT
Re the front row day seats the stage is low-ish and the view is great. But you need to get there early - 8.30 or so for 10.30 when the day seats go on sale.
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Post by Deleted on Nov 1, 2017 17:43:02 GMT
Standing tickets in the upper circle for £10 have been appearing online a few days before the performance, if you don't mind standing for that long. Keep an eye on the website though, I got back row dress circle seats for £10 about five days in advance.
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3,532 posts
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Post by Rory on Nov 1, 2017 18:40:39 GMT
Cheers to all for the info.
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Post by emilytemple on Nov 1, 2017 19:14:31 GMT
I saw this last week and i love it. Funny , intelligent. the chemistry between the main actors is wonderful
i laughed so hard on it. if i can i would see again. and Tamsin Greig is a star. Gosh I have no words.
just wonderful she was
Row B in Stalls for £10 is bargin of year
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898 posts
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Post by bordeaux on Nov 3, 2017 15:07:44 GMT
Saw this last night and really enjoyed it even if I didn't really believe the ending. Youngest theatre audience I've been with for a long time - I was up in the gods, but even so.
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5,690 posts
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Post by lynette on Nov 3, 2017 19:32:56 GMT
So I’m gonna restore the demographic tomorrow night to the usual old crowd.
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a bit too close to see the projections properly but more than made up for by close proximity to the wondrous Tamsin Greig. 
