After a short, loud, clamorous intro of beat heavy music, which sets Dealer's Choice firmly in the 90s, the lights go up on a split stage scene. Sweeney, the chef, sensitive, intelligent and one of the more emotionally mature of the characters, is hard at work in the kitchen, and Steve, the restaurant proprietor - a convivial, kind father figure, but no one's fool - is seated in the dining room, head down, 'designing' the new logo. As more characters arrive and begin to interact, the audience's focus is shifted by the switching off and on of lights in the opposite halves of the stage, which allow two narrative threads to play out alternately. This effect of illuminating the action on the left and darkening the scene on the right, and vice versa, was pretty effective in adding pace and liveliness to the action. As a device, the increasing speed of the flicking between sets really worked to raise the intensity, by reflecting and giving emphasis to the rising tempers and levels of anger and frustration of the bickering characters. I couldn't help but be reminded how, in some establishments, flickering lights is a signal to straggler customers to finally take their leave!

I laughed a lot throughout Dealer's Choice, with and at the protagonists. The cleverer characters deliver clever quips and make astute use of word play. The more comedic characters say silly things and there's an element of slapstick that's well measured and never gratuitous - but fun to watch. I particularly enjoyed the irritating yet lovable energy of Mugsy, the idiotic man-child waiter. He's an over the top, larger than life, extreme character who swings wildly between glee and tantrum, confusion and light bulb moments, yet for all his ridiculousness he remains very recognisable, real and likeable. His bouncing around the stage and crude Michael Jackson dance moves were totally engaging.

I liked this play for its easy laughs, but enjoyed it even more for its insightful observations about human (man being the operative word) interactions and for the warmth and pathos in the relationships between this disjointed, dysfunctional family of characters. Some are related by blood, some connected by friendship, loyalty, reliance, love, strength or weakness - and all are inextricably linked by their weekly poker game, which brings them together and simultaneously divides them.

Every character in this play has a story and as the first half closes, having learnt something of their driving forces, their hopes and dreams, fears and passions, I was anxious for them all and for the outcomes of the poker game, which was the basis of the third act. There's money at stake, which, whether the amounts are large or small, is of great significance to each and every person. But more compelling and tense to watch is the potential for the secrets and lies to be exposed, boundaries to be crossed and truths told. The poker table is where emotions run high, relationships are tested, power struggles played out and weaknesses revealed. Despite the raised voices, colourful language, moments of aggression and physicality of the denouement, it didn't feel explosive. The dramatic impact was in the constant rumble of underlying tensions and the minor eruptions taking place on stage. 

I fell a little bit in love with this motley crew, and even felt a degree of compassion for the 'bad guy'. I attribute this to the powerful, observant script, some really strong individual performances and the intense, funny, tragic and playful dynamics between the characters.