We’d heard that the play was set in a railway carriage so TPR thought that the best place to sit would be the back of the stage. KA and I soon put him right, arguing that we didn’t want to spend three hours staring at the actors’ backs. We refused to sit in the seats that he had saved for us and moved elsewhere. We soon switched places again when an enormous man took a seat in front of us, and again for a third time when we realised that if you were too close to the stage you couldn’t see all the action.
All this was pointless, however, because we found that the Danish avant garde production in Manchester was not to our taste at all. Before long it was obvious that most of the audience agreed, and started vacating the theatre. I wandered away from my seat for a while and when I came back I accidentally ended up on the ‘set’ which had now moved into the audience space. The only interesting part of the whole production came when KA’s daughter R was invited onto the stage to dance.