Waiting

Theatre (new writing)

  • Accessibility:
    Wheelchair Accessible Toilets
    May not apply to all performances. You'll find more information about accessibile performances and how to book tickets in the accessibility tab below.
  • Babes in arms policy: Babies do not require a ticket
  • Policy applies to: Children under 18 months

Description

It is September 1997. Edna Gould, wife, mother, grandmother, widow, has angina. It must be monitored and her new doctor is attentive and thorough. Despite the occasional setback she is ready for new experiences on a scale compatible with her needs. Edna was born in simpler times, her life lacks what some might term as excitement, but then so much is in the eye of the beholder. She has such hopes. Think Alan Bennett meets Roald Dahl.

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General venue access

  • Wheelchair Accessible Toilets
  • Accessible entry: Via a door from street level and a lift.
  • Wheelchair access type: Temporary Ramp, Lift (Building Lift)

  • Stairs: Information not supplied

Each venue can contain several space with different accessibly information. Visit the venue page for full venue accessibility info


How and when to make an access booking

Our access tickets service is available to anyone who:

  • Would like to book specific accessibility services, e.g. a hearing loop, audio description headsets, captioning units, seating in relation to the location of the BSL interpreter
  • Requires extra assistance when at a venue
  • Has specific seating requirements
  • Is a wheelchair user
  • Requires a complimentary personal assistant ticket to attend a performance

Ian Mantgani 100 days ago

A one-woman show written by and starring Kate Farrell as Edna Gould, an old woman waiting at the doctor’s office and talking, as old women sometimes do, in an at-length, somewhat bruised, somewhat resilient, essentially polite and rationalising ramble about all sorts of minutiae about her memories of family and her widowed life, from her daughter who married up and doesn’t really have much time for her anymore, to her gay son who ran off to London to become a celebrity hairdresser, to her late husband Len who she speaks of lovingly even while the details reveal a brooding and distant man.

There are all sorts of moving details in it, particularly the way she talks about the imprint Len left on the chair he died in, and the pride she speaks of about downsizing to a small granny flat with new furniture and central heating, as opposed to back in the old house when Len didn’t like to waste money by turning the bars up on the electric heater.

The website description advises us to “think Alan Bennett meets Roald Dahl”, and throughout it I was a little perplexed by that, as its monologuing, bittersweet style seems completely Bennett and not at all Dahl. And then there's one line, very late in the game, that upends the whole thing. It was a very clever rug-pull, and revealed Farrell to be much slyer than was possibly imaginable from her spellbindingly convincing performance, full of eyes misty with a real sense of memory and emotion conflicted by repressed manners. I did wonder if it was a bit glib for the show to make us care so much about Edna only to go for such a gag, but it really is the kind of move Dahl pulled so brilliantly in the best of the Tales of the Unexpected stories, and it recasts the whole piece with an added dimension about the unforgiving absurdity of life. This is a skilful show, and I’d be very interested to discover more of what Farrell has created.

Christina Potter 103 days ago

This was a brilliant one woman show. Beautifully written and skilfully delivered by Kate Farrell who became Edna. As a member of the audience, I was riveted from begin to end. Well done, Kate.

Stella Wilkie 107 days ago

Intelligently written - and beautifully delivered. Kate is an absolute star!


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