Under the Table Review

January 30, 2025

Under the Table Review

21st January – 1st February 2025

Nothing is as it seems. That’s the message to take away from the aptly named Under the Table, written and directed by Aaron Thaker. Split into four parts: sex, politics, money, and religion, the play follows four mini stories that hold up a mirror to contemporary Britain, commenting on our perceptions of people and the power they hold. Thaker is fearless in his approach and it paid off; I left Barons Court Theatre in awe of the wit, intelligence, and craft that it takes to create a show as brilliant as this one.

PART ONE: SEX eased us into the play, gently nudging us to suspect that – despite the lighthearted tone – something sinister was taking place. Fraser (Fraser Kelsey) is introduced to us “stretch[ing] like a homo”, as he prepares to rehearse his one-man play, but is caught off guard by an ominous voice – the flirtatious lighting technician, Sam (Harry Jarvis). This omniscient voice is oddly sultry and, although we never see Sam, the power of his voice created an intimate atmosphere that made us in the audience feel uncomfortable. It felt almost invasive, like we had stumbled across this interaction and were watching from the wings. Cleverly playing with light and space on stage, Thaker created moments for us to fill any emptiness with our imaginations, creating a further sense of unease that was really powerful.

“Under the Table is a tremendous production by the entire cast and crew, and I look forward to seeing what Aaron Thaker does next”

PART TWO: POLITICS stole the show for me. Khalil (Demi Idowu) is grieving and angry, pacing in his council flat with retired Labour MP Linda (Maxina Cornwell). They soon greet two bumbling Conservative politicians, Sarah (Rachel Burnham) and Oliver (Jacob Baird), as they’re canvassing, and Khalil entices them into his flat, ready to debate the shortcomings of the Tory party. Full of non-stop gags, Thaker balances humour and political commentary with ease. From Sarah needing to “de-heel” from the stress of the situation to a glance at the politicians’ phones showing Margaret Thatcher as their screensaver, every detail has been thought about. These scenes were made all the better by the outstanding performance by Jacob Baird as Oliver. His Jack Whitehall style delivery was hilarious and he completely embodied the pompous arrogance of a politician. Meanwhile, Khalil’s contrasting punchy lines made your laughter catch in your throat: “Every time you make cuts, someone bleeds.”

Following the interval, PART THREE: MONEY was much more insular. Set in a radio studio to record the late night show of broadcast personality Rick (Paul Giddings), we meet his assistant, Cindy (Moya Matthews), and his ex-employee Julia (Ella Jarvis). They debate recent accusations that Rick has received from ex-employees, including Julia (Ella Jarvis), live on air. We all know a Rick; using the diminutives ‘love’ and ‘sweetheart’ and ‘darling’ to refer to Julia in every sentence – it makes you wince. Gathered around a single table in the middle of the stage, after two parts that were filled with movement, I liked that this was much more still. Only the spinning of chairs and the occasional pacing from Rick showed the intensity of the situation. It forced the focus directly onto the power dynamics between the three and demonstrated how narratives can be molded to fit your agenda, but ultimately, “money talks”.

The play is brought to a crescendo in PART FOUR: RELIGION. Set in a dystopian future where Islam has been abolished and mosques destroyed, we find ourselves in a secret auction where Harry – or Hassan – played by Aaron Thaker is selling Islamic artefacts to the upper classes. As the audience, we are completely immersed in this scene with the whole cast mingling amongst us. The room felt abuzz with energy, before Harry’s sister, Nazia (Sasha Jagsi) confronts her brother in front of us all. An astounding and chilling performance by Jagsi, especially once we hear echoing screams down a corridor. This part is the one I haven’t been able to stop thinking about and that is a testament to Thaker’s talent.

With all four of these stories, we’re forced to question how far we will go for our own personal gain and how much agency we actually have over these moral dilemmas. ‘Under the Table’ is a tremendous production by the entire cast and crew, and I look forward to seeing what Aaron Thaker does next.

‘Under the Table’ is running at Barons Court Theatre until the 1st February.