Sold Out. The fateful words you'll hear when trying to book tickets to Black Watch at the Barbican Theatre.
But if ever there was a show worth fighting for, this is it.
At the time of writing, 15 returns were waiting to be snatched up. It's no guarantee every night will be the same, but the best way to get a hold of one is by queuing up at the box office anything up to 90 minutes before the show.
If you make it, prepare to be assaulted by the reward. The stage has been reconstructed to resemble Edinburgh's Military Tattoo.
Between the two ramps 10 actors play soldiers of the Black Watch, the British Army's notoriously brave 300-year-old Scottish regiment.
To call these men actors, however, hardly seems appropriate when faced with such credibility.
The realism of the dialogue is riveting. The songs which they sing are enchanting. The mortars and machine guns are nerve-wracking.
But it is the way director John Tiffany realises the poetic choreography of the regiment's relocation from Basra to Baghdad which makes Black Watch extraordinary.
Verbal becomes visual, as dance-like routines explain the emotions the soldier dare not.
The tenderness of scenes such as when the soldiers open letters from home, only to cry out in a silent, synchronised sign-language, build an emotional intensity that leaves you speechless.
If this were rock and roll, people would be camped overnight. For theatre regulars and novices alike, all it could take is an hour.
Black Watch, by Gregory Burke and performed by the National Theatre of Scotland, is at the Barbican Theatre until July 26. £25, returns only (queue from 90 mins before show or see website). Mon-Sat 7.45pm, Wed and Sat mats 2pm. Call 08451 216 823. See www.barbican.org.uk
