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Under the Table | Barons Court Theatre

Under the Table, which is written by Aaron Thakar and co-directed by Thakar and Jen Tucker, is a wickedly sharp insight that reflects contemporary Britain. Presented as four individual stories, each tackling a poignant issue, Under The Table creates a detailed and disturbing unfiltered look at the crumbling Great Nation. The play, whilst hard to watch at moments, ensures that each story is unforgettable and painfully relatable. 


Thakar, as a young playwright, proves more than capable of tackling any issue presented to him, with a signature sharp style and penchant for gasp-worthy twists, or gut-punching revelations. Unafraid to showcase the skeletons in the closets of his characters, Thakar brings out the beast in humanity, with an unflinching honesty. 


The four stories presented are loosely connected, occurring in the same time and space as one another. The show begins with Fraser (Fraser Kelsey), a heartbroken actor in rehearsals for his upcoming solo show. Fraser finds himself alone with Sam (Harry Jarvis), a faceless technician, and the two are embroiled in a vicious cycle of love, lust and loss. This relationship wanes and waxes over the course of its 30 minutes, taking audiences on an emotional and uncomfortable rollercoaster as they too fall prey to the predator. The segment, despite it's sadly normalised grim ending, departs several moments of wisdom about the theatre industry, poetry and human psychology. 



The second story is a fast paced and high tension story about political injustice and an extreme call for change. Young, black and lower-class, Khalil (Demi Idowu) is raging to avenge the government's newest stances that indirectly caused his mother's death after months of struggle and suffering. Seeking the opportunity, Khalil kidnaps Linda (Maxina Cornwel), previously a trailblazer of a people's politician, now a 72 year old with failing memory, to engage in a political debate with local Conservative MP candidate Sarah (Rachel Burnham). After, quite literally, physically threatening Sarah and her assistant Oliver (Jacob Baird), into his house, the latter duo are forced to confront and answer for the collapse in the country's economic and the many lives that it takes. This debate, fraught with tension, desperation and drastic measures, is conflicted on several levels, made even better by the performances. 


The third segment is fascinating, taking a deep dive into the controversial nature of a public persona, and patriarchal power. Popular late night RJ Rick Marlow (Paul Giddings), having been accused of misogyny and a toxic workplace, brings in former employee Julia (Ella Jarvis) to help clear the air on live radio. A stimulating conversation, orchestrated by Marlow, with prompts from his assistant Cindy (Moya Matthews), reveals the ease with which corruption can be withheld and withdrawn from the public perspective. Never once losing his jovial tone, Marlow uses his power to undermine Julia, resulting in a hard to watch, but oh-so-real depressing depiction of the status of the world. However, a final plot twist really hits the nail in this segment, leaving audiences reeling from the truth. 


The fourth and final segment takes on an entirely different approach, pedalling with worlds that feel far removed and almost dystopian to audiences, yet are placed in truth and familiarity. Hassan (Thakar), also known as Harry, presents a unique and exquisitely rare collection of Islamic idols taken from a mosque, to a underground room of some of the wealthiest art collectors. Backed by his close friend and mentor Bianca (Maxina Cornwell), Harry secures his position as one of the rich and influential. Until his true identity is revealed by the whirlwind that is his younger sister, Nazia (Sasha Jagsi), leaving behind a crumbling facade and the rubble of his past that threatens everything Harry has. A truly brutal, yet truthful glimpse into the world behind the friendly sheen, this segment stands out most of the four, for its horrific implications. 



Under The Table shines a light in the darker corners of society, tapping onto the rising anger, fear and desperation that most of society feels, to create a powerful piece. Thakar carefully chooses not to use this play as a swift call for action, instead merely showcasing the horrors that society shields. The play is sharp and perfectly pieced together with no compromise in quality, despite the vast quantity of topics it covers. Thakar's writing is up to date, bringing in issues that occur recently, with numerical statistics, and news headlines to back up any and all claims. A massive credit to Thakar, a young writer who's career may be just starting, yet proves he is already a master at his craft. 


The ensemble cast are all marvellous with some particular mentions. Giddings and Jarvis are both excellent at conveying mountains of emotions with simple body language, in a tough game of cat and mouse. Perfectly opposed in their characters, with Giddings being loud and cheery and Jarvis internalising her injustice. Jagsi leaves a mighty impact in her smaller role, with a performance so authentic that several audience members genuinely feared for her well-being. Burnham nearly brings an array of emotions to her performance, switching between them quickly, whilst maintaining the tension. Baird is the show's standout performer. Given a large role in two of the sections, Baird is utterly convincing in his multiple roles. A blithering idiot, Oliver, in one and a highly dangerous white elitist, Hugo, in another, Baird comes out victorious and unforgettable. 


Staging is kept minimal, with quick scene transitions between the segments as props are brought onto the intimate stage. Beth Scott handles the show's sound and lighting design, which is particularly impressive in the first segment. The segment's character Sam, who works as a theatre technician, points out the importance and sadly invisibility of the tech and crew during a show, which is admirable. 


Under the Table is a sharp and harrowing play that confronts the corruption and crippling sense of justice that thrives in modern day Britain. With excellent writing and a strong cast, Aaron Thakar once again creates a powerful play to be proud of.


Under the Table is currently playing at the Barons Court Theatre until 1st February. 





★★★★★ (5*)


Gifted tickets in return for an honest review | Photography by Kinga Anna Dulka

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