(seen at the evening performance on 8th May 2025)
Third time lucky for the monkey. It had a ticket for the original production at the National Theatre, but was ill and couldn’t attend. Same at the revival. So, finally made it. And it is well worth the wait.
“Dealer’s Choice” is not just selecting a poker variation, it is a life decision. Patrick Marber deals each man self-determination, pack shuffling to reveal not just winning or losing, but building into hands constructed not just by random fate.
Matthew Dunster knows how to vary the pace. While the piece could perhaps have run without an interval, the change from restaurant dining room to its grim basement game table benefitted from the timeout to adjust our mindset.
The first half is comedy building to sinister, Hammed Animashaun’s exuberant Mugsy setting the scene with classic gambler’s song “Luck Be A Lady” and an expensive, offensive, rayon tie. Ambitious, witless optimist leading a hapless gambler lifestyle, a small win for the character, huge payout for Animashaun’s acting skills.
Every character is sharply defined from the start – or so we believe. Restaurant owner Stephen (Daniel Lapaine) appears even before the play starts, working on books and a logo. Feckless son Carl (Kasper Hilton-Hille) interestingly reflecting his father in both attitude and mannerisms, giving both immense credibility.
Restaurant staff Frankie (Alfie Allen) and Sweeney (Theo Barklem-Biggs) rag, encourage and entice each other. Barklem-Biggs makes the most of his sub-plot, having rare access to his 6-year-old daughter and the heartbreak it brings.
Then there is the mystery customer, Ash (Brendan Coyle). Dangerous, but to whom? A simmering, edgy and ultimately nakedly flawed man Coyle judges perfectly in delivering.
Second half, a grand coup-de-theatre from designer Moi Tran puts literally intensive lights (Sally Ferguson) on the men and their various stages of gambling addiction.
The calls are fast and unfamiliar to non-players - but the intensity is electric. Fortunes and perceptions of the characters - by themselves and by us, their audience, alter on the turn of a card, a single line.
We learn that there may be calculable odds and enticing combinations. That there are many games. Turns out that there are few winning hands and even fewer real-life choices. A lot to learn, and worth learning.
Sharp dialogue, even sharper performances and staging, this is a winner.
