Taking a seconds pause, the line empties itself. Reaching the counter and over the back, a thick line of people suddenly find reason to queue up at the box office of the Sydney Opera House. Four weeks away from the night and the first Monday of The Sleeping Beauty offers only a choice between seats far in the back but dead on down the middle or in the loges, and off to the side.
As The Sleeping Beauty is a centred performance, any real obstacles in viewing from the loges would be minimal. Props off on over to the side hiding behind curtains or other stage artifacts. There is still no mock up model of the Opera Theatre sitting at the box office window. And tickets possibly close give way to tickets possibly cause for a nosebleed.
Walking away, the very prospect of seats in the loges appeals instantly over that of the seats in the gallery. An instant too late.
Saturday, 5 November 2005
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