Our month-long run of Lost In Mozart at Edinburgh Fringe 2011 is over, and we're seriously proud of all we've achieved; an average of 31 people came per show, thats 619 people who've seem the show, and the real thrill has been how many of them stuck around to praise us afterwards, sometimes tearfully.
But it isn't over yet! 6th October Lost In Mozart opens in London's Tabernacle Theatre Notting Hill for four shows only - grander, louder, epic-er... Secure your tickets now at www.lostinmozart.com
And we'll be applying to the London show all the things we've learned over the past month. Now, I can't speak for anybody else, but here are the top three most important lessons I've learned:
3. Don't say your play 'is' West Side Story on the flyers – there is a danger people will take it literally.
2. Actors differ from normal humans in subtle ways one might only perceive after living with a herd of them for a month. They have sponge-like memories, and they can rave it up until 6am, sleep two hours then turn in a powerful performance (even if the rest of the day is then spent passed out on the floor of the venue bar...)
1. In order for the lighting desk to work, the Master fader has to be up, otherwise you will condemn your actors to the indignity of coming on stage in the pitch black and having to act anyway while wondering what's going on while you leg it upstairs to find a technician who'll come and show you what suddenly seems incredibly obvious.
“I saw Jeff leg it out the door and I thought 'that's it, he's f**ked off!' - Ray Sesay, AKA Tribal.
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