DramaFringe TheatreReviews

Review: Under the Table, Barons Court Theatre

Summary

Rating

Good

Four tales intertwined with one another, containing secrets that cannot be suppressed forever.

Can you keep a secret? The characters in Under the Table, from Writer and Director Aaron Thakar, think that they are able to. The production consists of four different stories, based in modern day Britain, titled Sex, Politics, Money and Religion, all pieced together with an underlying theme which questions how long a secret can stay hidden. 

A large cast takes on a variety roles and uncertain scenarios, starting with the story of the actor Fraser (Fraser Kelsey), who is still healing from a recent breakup. During an audition he meets Sam (Harry Jarvis) the lighting technician. Sam claims that he has not read Fraser’s script prior to the audition, but upon connecting with Fraser we find that this may not be the case. There is also the tale of Conservative politician Sarah (Rachael Burnham), who campaigns for an upcoming election by knocking on doors with her colleague Oliver (Jacob Baird). When the two reach the home of Khalil (Demi Idowu) and meet former political activist Linda (Maxina Cornwell) it seems nothing is as truthful as it may appear. There’s additionally the story of radio personality Rick (Paul Giddings), accused of harassment by Julia (Ella Jarvis); however, whether these accusations are true is entirely arbitrary. And we encounter Hassan (Aaron Thakar) and his dubious involvement with religious artefacts at a secret auction.  

The show depicts Sex, Politics, Money and Religion as the four deadly sins in a style which suggests a modern Dr Faustus, begging the question of how far you would go for desire, power, fame, wealth and recognition. All of the characters stretch the limitations for these gains, only to end up either condemned, lost, sad and broken at the end. It’s an interesting examination of why humans cheat, lie and steal, debating whether it is worth the effort, and why we always seem to blame someone else instead of taking responsibility for our own actions. 

At times, the dialogue and the scenery are so in sync it is impossible to look away. At others the conversation is so animated that the scenery isn’t entirely necessary. There’s such a balance between listening and watching that if the show were adapted to a podcast version, the listeners would have no problem identifying what was happening. 

Having a small stage with a table to work with, a world of numerous possibilities is created. Indeed, the table itself seems to be as crucial to the show as the actors. Through the first half it serves no other purpose then to have various items placed on it, from rucksacks to glasses of water. Then during the second half, it serves as a base for microphones in the radio show, and becomes a focal point where precious artefacts are placed while tensions resound and members of the auction begin to question where the items really came from. 

Like the table, Beth Scott’s lighting design speaks as loudly and clearly as the actors. There are moments throughout the show where, without a word being said, one knows exactly what is happening depending on the dimming or the colour of the light.

Without a doubt, Under the Table asks some tough questions and presents some very difficult issues in an entertaining dramatic format. It’s a great example of effective theatre, allowing the audience to listen and consider while watching from the outside, removed from being in the midst of the chaos.


Written by: Aaron Thakar
Directed by: Aaron Thakar and Jen Tucker
Produced by: Jen Tucker and Aaron Thakar
Lighting & Sound Design by: Beth Scott

Under the Table plays at Barons Court Theatre until Saturday 1st February. Further information and booking details can be found here.

Cristina Tomme

Cristina is currently in the last year of her PhD where she is researching British theatre, film, television and radio celebrities from 1900-1978. She has a passion for watching old films with some of her favourite stars which include Leslie Howard, Vivien Leigh, Conrad Veidt, Valarie Hobson, Michael Redgrave, John Gielgud, and Ivor Novello.

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