Love, Love, Love tweets 11/29

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~ by Servetus on November 30, 2016.

8 Responses to “Love, Love, Love tweets 11/29”

  1. Not many people at the stage door. I heard the reference to a ‘boomer audience tonight’ .

  2. LOL, yes it’s definitely a boomer audience pretty much every night, and this one was subscription heavy too, I thought, hence the very few of us at SD. It was an interesting audience–nearly dead silent in Act 1, so I thought they would be that way every act. Not the case–huge laughter in Act 2, and less laughter but more response in Act 3–could hear audience members murmuring or gasping periodically. If you saw the curtain call video I tweeted you can see lots of appreciative applause and people standing. Zoe/Rose did the most experimenting–she changed the intonation on several of her lines, and changed her staging too–she knelt rather than crouched in front of Sandra in Act 3, so it seemed it really seemed as if she were begging with her parents.

    • Biggest laugh was for Ken’s comment to give Clive a bottle and a nurse and he wouldn’t notice Sandra was gone. A reflection of the age of the audience (which skewed over 70 by my count of the grey heads)?

    • I felt the senior age effect on a Wednesday matinee as well. There was hardly any laughter in Act I at all. It seemed very strange since boomers think it’s so funny.

      • I had a question in my own mind about how women relate to Sandra as a factor in how people “take” that Act. The matinee audience that I witnessed was not only older than me but heavily female. Evening audiences seemed somewhat more gender balanced though not entirely.

  3. Who’s Thomas May? No one else that’s reviewed the play has had a problem with the first act.

    • Thanks for the comment and welcome. He’s someone who saw the play. Incidentally, someone else who saw it that night also said the audience didn’t laugh much during the first act, and that isn’t the first time I’ve heard that comment. It happens. It’s not entirely clear how funny this play is for everyone.

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