Mixing comedy with menace is a difficult art.  Too much of one and too little of another can overbalance a production and send it toppling to the floor like an overgrown schoolboy at a dance. 

We are first introduced to Gus and Ben, two hit men, as they lounge around on two beds in a basement.  There is a pause.  A rather long pause.  This is to be expected, because after all it is Pinter, although the production avoids the temptation to overdo them. The characters are gradually introduced through a series of physical comedic moves.  Gus is clearly the most ill at ease.  He doesn’t like waiting and despite what we hear has been a long career hanging around in expectation of a victim’s appearance he isn’t very good at it. He rubs his eyes, stretches, bounces around on the bed and starts to pace.  Adam Elms captures the restlessness as the claustrophobic nature takes hold and injects a good degree of energy even when staring into space and simply hitching up his trousers. 

Ashley Shier’s Ben is more languid and retains a more consistent control on his emotions.  Both men portray a sense of unease and a worrying lack of confidence in what is about to unfold. 

Anna Friends’ production benefits from a simple set which places the location neatly in a derelict building, with the eponymous ‘dumb waiter’ literally taking centre stage.  While Gus increasingly gets on Ben’s nerves the serving hatch lies in wait, biding its time to make an appearance. 

When an absurd series of long forgotten orders start to appear both characters begin losing their cool.  They are no longer interested in the cups of tea that are never to be made, but instead start to become increasingly unhinged.  Whether the orders for steak pies, sago pudding or macaroni patstitsio are metaphors or not, they are confusing and we wonder who is sending them down and why.  The dreary basement could once have been a kitchen, but is clearly not one now.

Choosing The Dumb Waiter as their seventh production Schoolhouse have made a good choice and the ease with which the actors handle their ‘odd couple’  relationship speaks volumes for the stage craft that they employ.  There is a growing sense of threat and the heat generated by the packed Alma Tavern house adds to the sweltering and oppressively suffocating atmosphere.  Tempers start to fray as the senior partner Ben takes the initiative. 

The balance of humour and menace isn’t always spot on and since this production takes place above a pub it is perhaps appropriate to say that three quarters of a pint of humour is poured into some passages when a simple half would have been more than enough.  There is also an awkwardness around the one sided dialogue down the speaking tube which might improve on subsequent nights although as the pace increases we are surprised by the doom laden finale.  Worth the wait, but could have been served more appetisingly.    ★★★☆☆    Bryan Mason   26^th September 2019