The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
Dinner
By Moira Buffini
A Stables Theatre production
Directed by Peter Harvey
4–12 July 2008
Reviewed by Karen Rees
By Moira Buffini
A Stables Theatre production
Directed by Peter Harvey
4–12 July 2008
Reviewed by Karen Rees
Buffini’s Dinner, a black comedy, was served up at the Stables Theatre last week. The dinner party scenario of the play was reminiscent of better known works, though the underlying themes, of conspicuous consumption, the attraction of modern philosophies and self-help, were perhaps not as cleverly developed as some other playwrights have presented them.
Here, an artist, Wynne; a scientist, Hal; and his wife Siân, variously described as a sexpot/news babe/journalist, are coming for a meal. Paige, played by Pauleen McLaughlin, with a reputation as a hostess extraordinaire, is holding a repast to celebrate her husband Lars’s best-seller, Beyond Belief. The unexpected arrival of Mike, stranded by fog, a role tackled with enthusiasm by young actor Tom Curteis, completed the entertainment. Mike is thrown headlong into the secrets and conflicts of the other guests.
A silent waiter sourced from an obscure website, and played with eerie malevolence by Dave Hooper, provided curiosity and a brooding presence. Sarah Evans’s dippy vegetarian artist, Wynne, was portrayed to great comic effect and with wonderful facial expression, providing a counterpoint to the increasing maliciousness of the other characters. And Bertie Hustwayte’s Siân realistically passed through a number of emotions in reaction to the evening’s events, impressively rising to the challenge of a macabre party game.
The set was stunning in its stylish simplicity, eliciting a spontaneous round of applause, and the effective staging allowed the actors to use the space well in what could have been a static dining scene. Well aware from the beginning that the evening would have an unpleasant ending, the suspense as to what would occur or to whom was maintained. Also impressive was the cast’s command of the excellent props (by Jenny Callaghan and Nicky Harris) to create realistic eating and drinking throughout the occasion. The wonderful food almost “took on a character” itself, and provided striking metaphors for Paige’s revenge, viz “Primordial Soup”, “Apocalypse of Lobster” and “Frozen Waste”.
Dinner was a contemporary play for the Stables, and had the potential to offend with its strong language and adult themes. It is important though that the Stables is not complacent in its choice of productions, and can challenge audiences and its own abilities with different fare. It was refreshing too to see a number of newcomers in principal roles, namely Pauleen McLaughlin, Rodney Figaro and Peter Roe, who are to be congratulated on their debut performances at the theatre.
Here, an artist, Wynne; a scientist, Hal; and his wife Siân, variously described as a sexpot/news babe/journalist, are coming for a meal. Paige, played by Pauleen McLaughlin, with a reputation as a hostess extraordinaire, is holding a repast to celebrate her husband Lars’s best-seller, Beyond Belief. The unexpected arrival of Mike, stranded by fog, a role tackled with enthusiasm by young actor Tom Curteis, completed the entertainment. Mike is thrown headlong into the secrets and conflicts of the other guests.
A silent waiter sourced from an obscure website, and played with eerie malevolence by Dave Hooper, provided curiosity and a brooding presence. Sarah Evans’s dippy vegetarian artist, Wynne, was portrayed to great comic effect and with wonderful facial expression, providing a counterpoint to the increasing maliciousness of the other characters. And Bertie Hustwayte’s Siân realistically passed through a number of emotions in reaction to the evening’s events, impressively rising to the challenge of a macabre party game.
The set was stunning in its stylish simplicity, eliciting a spontaneous round of applause, and the effective staging allowed the actors to use the space well in what could have been a static dining scene. Well aware from the beginning that the evening would have an unpleasant ending, the suspense as to what would occur or to whom was maintained. Also impressive was the cast’s command of the excellent props (by Jenny Callaghan and Nicky Harris) to create realistic eating and drinking throughout the occasion. The wonderful food almost “took on a character” itself, and provided striking metaphors for Paige’s revenge, viz “Primordial Soup”, “Apocalypse of Lobster” and “Frozen Waste”.
Dinner was a contemporary play for the Stables, and had the potential to offend with its strong language and adult themes. It is important though that the Stables is not complacent in its choice of productions, and can challenge audiences and its own abilities with different fare. It was refreshing too to see a number of newcomers in principal roles, namely Pauleen McLaughlin, Rodney Figaro and Peter Roe, who are to be congratulated on their debut performances at the theatre.
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Photographs > www.artypharty.com
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
