Review of ‘The Society For New Cuisine’: “Piquoant ingredients leave audiences with a mild aftetaste”

The Omnibus Theatre hosts West End performer Chrid Fung’s writing debut, landing on the London scene upon its initial run at the Edinburgh Fringe. Guillermo Nazara shares his views on the show, to let us know if this cauldron of crude topics regales viewers with a house speciality or ends up feeling out to lunch.

There are a thousand definitions of life – and none of them the word “easy”. And when it comes to men, their problems are no one else’s but their own. The subject of masculinity and the implications it brings along in the community has got momentum in the last couple of years – where the struggles and suffering of a group that modern standards seem to have let down are starting to reclaim their spot in today’s narratives; including the fictional ones.

Some people find safety in tradition. To others, it’s a prison that gives their soul the kiss of death. All of those topics are boldly brought up in The Society For New Cuisine, a one-man play exploring the trials and tribulations of a young male whose only purpose and destiny is to do what he’s supposed to.

You’re taken care of while you’re raised; you’re given an education so you find a nice job; you make good money; and then, you must return the “favour” to your family for the rest of your existence. There’s no way out or around. You’re meant to show gratitude for the blessings you’ve been granted – whether you asked for them or not, whether you wanted them or not, or whether that was what you actually needed or not.

All of them are extremely poignant topics that constitute a solid foundation for an introspective journey of universal appeal. To some extent, that effect is achieved, but not pushed forward. Writer Chris Fung brandishes a sharp pen when depicting the world through a personal, intimate vision, but the emotional grip and connection with the viewer is yet to be built.

As a result, the script manages to make some discerning observations about facts we don’t usually question, but it doesn’t display the same deftness at creating a plot that’s entertaining enough to keep us engaged all throughout. There are some excerpts where we find ourselves attached to the protagonist’s plight, but that connection is often interrupted by an absence of a better established rhythm and executed structure.

In any case, director Rupert Hands’s approach is able to counterbalance these problems in some way. Featuring a visually imposing take, the material’s eerie undertone is boldly brought out through its thriller-themed staging, accentuating the theatricality of the performance through a versatile palette of techniques – supported by its intricately devised lighting.

On the other hand, Fung flaunts great performing skills in his delivery – exuding presence and magnetism by serving the recount with an undaunted, commanding energy that fuels the raw forcefulness of the piece’s message.

This is far from being a finished work. But there’s certainly a path that has been laid – and which, if given the right tweaks, could lead to a truly galvanizing outcome. As of now, The Society For New Cuisine still requires some extra seasoning before its bubbling ideas commence to solidify. Its a melange of possibilities which could grow into something transforming and genuinely special, as long as they found the proper yeast to make it happen. Yet so far, it remains as a mise en place of ideas that are only half baked.

All pictures credit to Kenny Kung.

The Society For New Cuisine plays at London’s Omnibus Theatre until 5 April. Tickets are available on the following link.

By Guillermo Nazara