Review of ‘Under The Table’: “Dry intoxication”

Barons Court Theatre hosted Aaron Thakar’s latest play, exploring the conflicts of human nature through a melange of satirical situations. Guillermo Nazara shares his views on the show, to give us a sip of what’s in store and let us know if the piece caught lightning in a bottle.

They say that love is the biggest force of nature. And yet, it’s usually interest that ends up winning over the human heart. It’s very difficult to make a comment on society without sounding pedantically preachy. So many shows I’ve seen and reviewed, some of them with outstanding promise, have fallen into the same sin – regardless of how righteous they believed they were. It can get tiresome, if not excruciating. And when the list of messianic nobody-asked-for-them plays keeps growing larger, your patience can only grow smaller – there’s simply as much BS as you can take.

Writer Aaron Thakar seems to be knowledgeable of the problem. Fortunately enough, his newest piece soars above the self-appointed virtuosity of the late independent theatre scene to present us with something far more palatable, rich, and stimulating. Under The Table, a play in four acts depicting the hypocritical essence of our nature, ran at the Barons Court until last week – bringing a tableau of farcical scenarios exploring the conflicts of morality, greed, and survival through an edgy clash of extremes.

From wannabe Tory MPs locked up with senile labour advocates to cultural sell-out and sexual depredation, the show takes audiences on a journey of laughter, thought, and intrigue, which is on the whole well-balanced, correctly structured, and evenly paced. There’s an obvious undertone as for what the author’s convictions actually are, but the script is intelligent enough to give equal credit to both sides of the story – disguising its true position with almost complete effect, and only displaying a few minor hints that reveal the creator’s status as a new writer.

There is, of course, some further polishing to be done. The dialogue, in general, flaunts good flow and naturalness, but some lines (especially in the first installment) feel slightly cliched and in need of extra honing. The same goes for its ability to keep its grip on the viewer all throughout. Some moments are exceptionally entertaining, pithy, and absorbing. However, we can sense that rhythm is dangerously off at some bits – especially, once again, during its opening scene, where the subject it attempts to grasp seems to have received the shallowest approach in the lot.

In any case, the overall impression comes with an acidly tasteful flavour – achieved also through its properly executed blocking, but primarily, by its much praiseworthy company. With only a couple of exceptions, the entire troupe boasts great chemistry, vigour, and flair in the performances – carried out with infectious stamina and a superb ability to project and enhance the piece’s dry humour.

Among them, the highest mentions are earned by Paul Giddins and Rachel Burnham in the roles of Rick and Sarah, both bringing extraordinary charm to their ethically questionable characters while also proving absolute command of their comedic skills. On top, Jacob Baird comes out as the ultimate winner of the evening, thanks to his innately assertive presence onstage, as well as excellent timing and tongue-in-cheek magnetism.

Smart, poignant and bitterly sharp, Under The Table floods guests with an ambrosial observation on life and society, while leaving room for the opposite ideals to be heard and even retaliate. As with any young author, there still are some raw materials requiring more thorough kneading – a flaw that, in this case, only suggests that not all of his muscles have been stretched. Yet, most of its contents have enough strength to make of it a much inebriating ride that, far from putting viewers under its influence, will tempt and revitalize their critical minds. If that’s the outcome, may the coma begin.

Upcoming shows at the Barons Court Theatre are available on the following link.

By Guillermo Nazara