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Review: Make Your Reservation for Table 17
September 7, 2024, 3:52.14 am ET

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Photo: Daniel J. Vasquez

By Brian Scott Lipton

Based purely on its plot synopsis, one might have reservations about seeing Douglas Lyons’ “Table 17,” now being presented at MCC Theater. After all, is there anything that special about a play concerning a former couple meeting to rehash the past and either kiss it all goodbye or kiss and make up?

There can be. In fact, make your reservations immediately (if you can) to see this thoroughly engaging, superbly acted – especially by 2024 Tony Award winner Kara Young -- and brilliantly designed piece of theatre, which is definitely worth 85 minutes of your time and the cost of the ticket.

Yes, Lyons’ story is not overly original, but he tells it with warmth, compassion and plenty of humor, all of which are brought to the forefront by the excellent three-person cast and the gifted director Zhailon Livingston (who directed Lyons’ “Chicken and Biscuits” on Broadway and co-directed the super-hot “Cats: The Jellicle Ball”).

Two years after their acrimonious break-up, seeming nice guy Dallas (an extremely appealing Biko-Eisen Martin) has finally made contact with his former fiancée, flight attendant Jada (a part that allows Young to show off her distinct flair for physical comedy, her quick way with a quip, and her considerable gifts as a dramatic actress), who had previously blocked him both on her phone and on all forms of social media.

He asks to meet her at swanky eatery Bianca (masterfully created by Jason Sherwood, who has also scattered tables near the stage, and beautifully lit by Ben Stanton), which is overseen by sassy gay host River (an utterly hilarious, scene-stealing Michael Rishawn, who smoothly morphs throughout the play into a couple of very different characters).

Jada knows her therapist would not approve of the rendezvous, but she goes anyway – after changing outfits (the excellent costumes are by Devario D. Simmons) -- seemingly prepared for any and all complications (except the one she hadn’t considered). Indeed, we know from the start Jada still has feelings, perhaps deep ones, for Dallas, and we also soon learn they are reciprocal. The dialogue aside, you can just see it in the eyes and body language of Young and Eisen-Martin, who feel utterly believable as once (and probably future) lovers.

Lyons’ play is not traditionally well-made; there are monologues in which all the characters talk to the audience (letting us in on all of their feelings), along with various flashbacks, and even some actual interaction with the people at those tables. It all works.

Ironically, though, for a play set in a restaurant and with a Playbill that comes with a complete fictional menu, there’s minimal mention of food, and only a plate of never-eaten chicken wings is served. So, while you might need to fill your stomach afterwards, your heart will be satisfied by “Table 17.”

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