A magnificent banqueting table commands attention within the room, encircled by seated audience members. Suspended overhead, a dazzling chandelier casts its shimmering light, while the pristine white tablecloth boasts an array of plates, cutlery, and wine glasses. Our waiter for the evening is Geoff Sobelle, and together with co-director Lee Sunday Evans, they deliver an immersive show that exudes sophistication and elegance.
The empty table ignites a Pavlovian response: what culinary delights shall we be served? However, the fare presented is more ordinary than an extravagant feast of ideas, disappointing food enthusiasts in attendance. Bowls of raw eggs, apples, and a plastic fish are briefly wafted under our noses, failing to truly whet our appetites.
Furthermore, there is a lack of genuine bonding and camaraderie around the table. Sobelle engages a few participants by encouraging them to recount memories associated with the wine served or describe their most recent recipe. Yet, these moments are fleeting and predominantly played for comedic effect. The majority of audience participation occurs through prompt cards, allowing Sobelle to maintain full control of the narrative. Unfortunately, this approach transforms the experience into a form of manipulation rather than true engagement, with some of Sobelle’s jokes mocking our expense.
Anyone for Arctic fish? Geoff Sobelle’s Food. Photograph: Murdo MacLeod/the Guardian
Sobelle characterizes us as worldly, cosmopolitan diners, evoking memories of “The Menu” and instilling a sense of unpredictability in the air. This notion, however, contributes to the feeling that we are merely pawns in Sobelle’s game, lacking genuine agency within the show.
There are certainly clever illusions throughout the performance, co-created by Sobelle and Steve Cuiffo. For instance, a diner is instructed to request a baked potato, and to our amazement, the vegetable emerges from a seed planted in a lump of earth. Another memorable moment occurs when Sobelle prepares an Arctic fish dish, causing the entire table to emit smoke from the dry ice as he gracefully slides across, reminiscent of a skater, to catch the fish.
A jaw-dropping display of gluttony introduces a medley of repulsive yet entertaining tricks, accompanied by a notable shift in the narrative. Subsequently, the performance takes us on a journey through the history of food production, supply, and the present-day issue of overconsumption.
While the show undoubtedly delivers spectacle, its didactic message lacks nuanced exploration, in stark contrast to Chris van Telleken’s book, “Ultra Processed People.” Ultimately, I left the performance still longing for a satisfying meal.
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