Review: Table 17 (Kiln Theatre)

Review by Daz Gale

⭐⭐⭐⭐⭐

Sometimes you have to move away from Central London to find some of the most exciting and consistent theatres in London, whose quality speaks for itself. That is the case for the Kiln Theatre, where a trip into Kilburn will usually get you one of the strongest shows in London. Past successes there include Retrograde and Two Strangers (Carry A Cake Across New York) which is now concluding an acclaimed run in said city. It is only fair that New York returns the favour which is exactly what has happened with the UK premiere of the 2024 off-Broadway hit Table 17. Would this story about two ex-lovers meeting up again recapture the magic from two years ago, or are some things better left in the past?

Premiering at New York’s MCC Theatre in 2024 before a run in Los Angeles last year, Table 17 centres on couple Jada and Dallas. Having not seen or spoken to each other for two years since they broke up, one of them reaching out has led to the ex-lovers meeting up for the first time at a restaurant that is new to them both. After being shown to their table (I’ll leave you to work out what table number they are sat at), the two reminisce about the past through their highs and their lows and try to figure out if they can move past what had happened, and if the spark between them is even still there.

Written by Douglas Lyons, the first thing to say about Table 17 is how distinct it is in style. Darting back and forth between the past and the present, cast members regularly break the fourth wall to talk to the audience. There is nothing distinct about that, I hear you cry. Well, the difference here is they want you to talk back. When I first heard about that I was alarmed as the idea of audience participation often fills me with dread, but it really works in this situation. Think of this like a pantomime, but different - where “He’s behind you” should only be said when Jada is thinking about where she stands with her ex. Cast members occasionally turn to the audience, lights up, asking a question and seeking a response. Sometimes it is specific members of the audience being asked, with questions prefaced with “Ladies?”, “Fellas?” and, at one particularly brilliant moment, “Gays?”. What works about this style choice is in how sparingly it is used, never overdone and never coming close to being reduced to a novelty. The audience interaction works in the show’s favour as it allows a connection to the story and these characters, allowing the audience to be fully invested and immersed. Also, a fair warning, if you opt to sit at one of the table seats at the front (Sadly, there aren’t 16 of these), prepare for extra levels of interaction.

Lyons’ writing borders on genius throughout, carefully examining the complexities of a former relationship in a way that is surely relatable to us all. Who hasn’t looked back on their time with an ex wondering what they would do differently if they could do it all again? It is never as simple as that, as we all know, and Lyons beautifully unpicked all these conflicting thoughts and feelings. Moving from the present day as the exes reunite at the restaurants to glimpses from their past is an inspired touch, with each new scene revealing more details and creating an extra level to the story. The narrative style is also inspired, with a third character, often waiter/host River acting as a sort of narrator and bridge from the audience to the story playing out through his eyes at times. This leads to some hilarious moments, a theme that is recurring throughout in Table 17. I found myself laughing from start to finish, though some of the more tender moments also got me in the feels.

This production is also exquisitely designed, with Amy Jane Cook brilliantly transforming the Kiln stage into the restaurant with seemingly nothing but their table in sight. This proves deceptive, however, with a revolve revealing more to the stage and fantastic lighting from Matt Haskins transforming the set with great variety. The result is a production that always looks slick and stylish, giving a sense of class to a story that is sometimes at odds with its supposedly fancy setting (even if the food itself is questionable).

Table 17 is tied together beautifully through brilliant direction from Zhailon Levingston. At a pacey ninety minutes, the action never stops and never runs the risk of being anything other than thrilling throughout. Levingston’s direction particularly shines in the regular asides that happen when cast members leave the moment to address the audience, sometimes for a brief moment before switching back. It is always slick, precise and flawlessly executed, with each transition to a fragment from the past phenomenally handled. This is a play with multiple levels, with each scene carefully placed to reveal more and make each piece of the puzzle come together. The synergy Levingston has with Lyons’ writing makes for a pairing that elevates each other and the material itself, making for an utterly fantastic watch. A testament to that is the fact I had fallen in love with the show less than one minute in, and the five stars you see at the top of this review were never in doubt from that moment on. Often, shows can be inconsistent with highs and lows - Table 17 starts strong and stays there, never dipping for even the briefest of moments.

Every bit as incredible as the creative elements is the sensational cast of three, all bringing something different to deliver three world-class performances (or more than three if we are counting each character differently). Marisha Wallace has proven herself time and time again, becoming one of the most well-known, reliable and indeed talented stars of musical theatre in the West End. This time, it is solely about her acting with no singing to be found (one brief moment aside). It is safe to say her acting is every bit as good, with Wallace delivering a knockout performance as Jada. With a brilliant knack for comic timing, Wallace is larger-than-life as the effervescent Jada, in a performance that feels authentic as if she has taken elements of herself and put it in her characterisation. This also means the moments of heart land even harder, with Wallace fittingly making it impossible not to love her, giving a perhaps accidental extra layer to Dallas’ dilemma with the possibility of rekindling things with her. Marisha Wallace is utterly magnetic in this play, proving once again how intuitive she is when it comes to taking on new roles, and never try to put her in any sort of box, as she will always break out and show what else she can do. In that respect, this is essentially a Marisha Wallace like we have never seen her before with the one consistency being how utterly magnificent she is.

Jamael Westman is similarly striking as Dallas with an initial cockiness that is simultaneously fun to watch yet endearing. Westman is in fine form when the first meeting between Dallas and Jada is revealed, with each subsequent scene giving him the opportunity to showcase his own conflictions as he works hard to build a better life for him and his love, without seeing that he could ever be losing her. Again, it isn’t quite as clear cut as that and when it comes to pointing the blame or finding out the reason he asked Jada to meet him, there is a sense that he can take some of the responsibility. However, such is the quality of Westman’s riveting performance that even in a moment when he tells the audience they should hate him, it proves pretty impossible to. The chemistry Westman and Wallace have together is electric, giving a sense of believability and allowing the audience to root for the ex-lovers in what may be an unconventional scenario and even unconventional love story.

The cast is completed by Michael Rishawn, reprising his role from both of the former American runs… or should that be roles? Rishawn is utterly resplendent in his multi-roles here, offering performances that mix up the dynamic and often bring the humour. There is a fantastic one-scene wonder where Rishawn becomes a bartender, displaying some fine skills, while his turn as Eric shows the richness and versatility to his performance, still offering comedy but with no shortage of depth alongside it. However, it is River that truly wows and steals every scene he is in, with the sassy host and waiter coming up with some brilliant one-liners throughout. His unfiltered reactions to the mess that is unfolding in front of him and his impatience for idiocy leads to one of the finest comedic characters I have seen in a fair while. Crucially, there is more to him than that, with his desire to be loved himself offering another dimension to him. The performance from Michael Rishawn really is as good as it gets, proving himself to be an incredibly gifted and talented actor - one I hope we see a lot more of in London in the future.

There has been no shortage of middling or underwhelming shows of late, and sometimes it can be difficult to remember the last time you truly felt the pure joy and excitement that comes with excellent theatre. Table 17 did exactly that for me. I found myself with a smile on my face the entire time, laughing regularly and feeling my heart growing. Douglas Lyons’ has marvellously created a show about the complexities of breakups and how to navigate the conflicting feelings that may lurk inside of you, even years later. The brilliance of his writing is matched with the design, direction and incredible performances from the three-strong cast, with strong being the operative word. The result is an incredible play that brings a bit of New York to London and feels destined for bigger and better things. Don’t be surprised if you see Table 17 in the not-too-distant future, as this is one relationship that deserves to have a second life and should by no means be left in the past in a play you will find impossible not to fall in love with.

Table 17 plays at Kiln Theatre until 24th October. Tickets from £19 at https://allthatdazzles.londontheatredirect.com/play/table-17-tickets

Photos by Steve Gregson