'The Dining Room' Celebrates 'Heart And Hearth,' Longtime Cast Bonds

SOUTHAMPTON, NY — A new theatrical gem directed by the iconic Michael Disher debuts at the Center Stage at Southampton Arts Center Friday, running though Sunday — and brings a buffet of laughter, love, memories and joy to the proverbial table.

"The Dining Room," by A.R. Gurney runs from Friday, April 26 through Sunday, April 28 at the Southampton Arts Center, located at 25 Jobs Lane in Southampton. Performances will be held on Friday, April 26 at 7 p.m., Saturday, April 27 at 2 p.m. and 7 p.m., and Sunday, April 28 at 2 p.m.

The show focuses on the one room in the house, perhaps now barely used, where for generations, so many family dramas unfolded and forever memories were made — the dining room.

"Once upon a time, before open concepts and eat-in kitchens became the must-have element of a home, the dining room was second only to the kitchen as the heart and hearth of any dwelling," a release for the. show said. "In 1982, A.R. Gurney examined the worth, value, and purpose of the center of most family holidays, declamations, disagreements, and life-altering events."

The show is comprised of 18 vignettes that examine the room "and its versatility and variety of functions — humorously, pointedly, poignantly and with great reverence and reflection," the release said.

Directed Disher, "The Dining Room" features Daniel Becker, Susan Cincotta, Susan Conklin, Bethany Dellapolla, Richard Gardini, Tom Gregory, Barbara Jo Howard, Jenifer Maxson, Franco Pistritto, Jack Seabury, Michaal Lyn Schepps, Christopher Tyrrko and Gerri Wilson.

The show also features stage management and design by Joseph Giovingo and lighting and sound by Kenneth Blessing.

"When I selected 'The Dining Room', I thought that this would be a great piece for the the actors who have chosen to work within this abbreviated format and rehearsal period," Disher told Patch. "Episodic in nature, it seemed as if it would be a relatively simple show to direct. I was wrong — and I should’ve known better."

His last association with a production of the show was in 1986, Disher said. "Then handled with great aplomb by six actors. I thought this show could be a great showcase for the many actors who have found the time to juggle a show alongside their life schedules and responsibilities. And rise to the demands I place upon them as performers. The show has proven anything but simple. The show is so rich, so textured, so riddled with possibility and plausibility that it required, no demanded, that we find the additional time to mine the gold within the text. This has proven to be one of the most challenging and rewarding script I’ve tackled in a long long time. I think these performers would agree."

For Disher, the show's premise touches a heartrending chord. "I now realize the dining room of my youth, adjacent to the kitchen, was a connection between myself and my mother. An exceptional and exemplary cook, I never realized that in many ways she simply wanted me within eyesight, and there was no better place than the dining room table. It was often an area where I read, studied and shared time with her, which I now cherish. At the time I was unaware of its impact and value."

Disher said he applauded the cast for accepting the challenge and dedication required of the show.

"In 15 rehearsals, they have accepted that mediocrity is not an option (I will teach this incessantly). Of course, I always wish I had one more week, an opportunity for greater production values and a run longer than one weekend. But brevity appears to be the winning ticket for theatrical commitment on a community basis. Extracurricular time is at a premium and I am so grateful and so fortunate to have people who have given up their weekends and valuable time to bring Gurney’s words to life. They are rich words, cautionary and often revelatory. They enrich my life and world immeasurably."

When asked about the show's enduring legacy, Disher said: "If there is a message or meaning to this piece I would like to think it is to serve as a reminder. A reminder that tradition can be variable but is an undeniable anchor within the strength of the American family, any family. I think in many ways we’ve lost sight of tradition; however, if history does indeed repeat itself, my wish is that a more sturdy framework appears within our lives. It’s important to have a bold outline."

Beyond the heart-touching and hilarious tenets of the show, the cast, in and of itself, is an enduring testament to the bonds formed on East End stages. Many of the cast have worked together before, creating lifetime bonds — and all spoke about Disher's starring role in the story of their own lives.

Chris Tyrkko, speaking with Patch, said each actor portrays several parts in the vignettes.

The play itself resonates and explores family dynamics, he said. During days gone by, families sat down at the dining room table, a "dying breed of moments" that have faded with the advents of food delivery services and meals eaten standing up at counters.

"I remember sitting down with my parents, my grandparents — this show brought back some good memories for me, the stoicism of prior generations. I’m in my 50s; I grew up with my grandpaents and parents to some extent in a home dining room, this play has illustrated how things come out in the open — a dichotomy to today’s age."

Today, he said, people only speak at dinner tables in restaurants, in public places where it can be challenging to have heart-to-heart talks and share feelings.

The show, he said, "hits on all cylinders," adderessing marriage, children, mortality, family.

Tyrkko has known Disher for 14 years, first working with him in "12 Angry Men." Of Disher, he said: "I can't say enough about Michael. Intuitive, finess, class. If I had to make an analogy, to me, he's Wayne Gretzky, a polished superstar that makes it look easy. He's a great teacher, a great mentor."

Of the show, he said: "It relates to everyone, at different points in their lives. You'll laugh, you'll cry, and you'll say, 'That reminds me of my grandfather, my uncle.' It's bittersweet. That's what life is about, moments. And everyone is different."

Jenifer Maxson said the play is relevant to the state of society today. There was a time, she said, when the dining room was the "epicenter of status and social positions." In cultures other than Western civilization, "where you sat and who you sat next to" had tremendous significance a cultural dividee akin to Armageddon, she said. Today, she said, there is nothing to replace the experience of sitting around that dining room table. "Our society is so in the thrall of technology, losing who we are and where in the world we are going, without those safety nets."

Back in the days of formal dining, she said, "At least we knew how we were supposed to be," during a time when status and Emily Post and etiquette gave direction.

"This is a brilliant play," Maxson said. "A wildly entertaining play. It's funny, it's touching, it's heartrending. At its core, it has a certain tragic orientation, taling about what has crumbled and is being destroyed for better or ill. Revolutions are necessaey to move on or go. We are directionless."

She added: "The power of theater, of perspective, is that theater gives a balance of tragedy and comedy. When theater is good, it is the mirror that a lot of us are afraid to look into."

Bethany Dellapolla said certain vignettes spoke to her own experience. "For instance, I really connect with the character of Nick and his desire to explore the world and expand his horizons, Ellie's utilization of the dining room table as a clear space with which to do homework. This was very much my childhood growing up — I would often have my schoolwork scattered all over our dining room table, and then we would eat together in another room— the dining room table was never a sacred space. And, as a person who works with kids, so many of the kid characters as well. It's been a blast channeling my inner 6 year old, especially!"

She added that the themes of the show speak to the hearts of all. "I think one of the biggest themes in this show is that one room, one piece of furniture, can be the witness to many different moments of familial history and memory, and that this room can mean different things to different people in different periods of time. The show centers around these snapshots of moments between family and friends, and shows I think that ultimately, it's not the furniture but the relationships that are the most important."

Dellapolla said she has known Disher since she graduated from college years ago. "I can honestly say that he is the person who gave me the most confidence and trust in my ability as an actor. He has a way of pushing people all while being super supportive, and I wouldn't be the artist I am today without him."

To audiences coming to the show this weekend, she added: "I think the most important message is that a room's value is determined by you and what you give it, and that you can break bread, discuss issues, and gather with friends and family anywhere — that whatever space that is will be special and have meaning."

Daniel Becker said working with Disher for many years: "He continues to push me beyond what I thought were my limits as a performer and it is very hard work. He has gathered around him such a fine group of people who respect his skills and try to meet his demands. This cast are some of the finest, funniest and most intelligent people I know and it is a joy to be with them. There are a few more out there but they couldn’t join us because of parental responsibilities and occupational responsibility. I miss them. The show is a magnificent portrait of families, of an era, of a culture."

He added: "A good director must have a thorough knowledge of theatrical works, the ability to see meanings in words and lines that are not obvious, the ability to inspire his cast to work and behave as a team and the ability to communicate and elicit those meanings from his cast’s performances. Michael does all those things."

Susan Cincotta said the character of the divorced woman who opts to learn how to fix the dining room table with her carpenter is the one that excites her most. "Because she goes out of her comfort zone to learn something new (rather than repeat the same mistakes) and grow."

She added: "'The Dining Room' revolves around family; memories both sad and sweet. All of the females I play struggle with unexpected circumstances, confidence or the lack thereof, loneliness, challenges that both strengthen and weaken them. It's a very well written play. I also think it's about the relationship with alcohol and its aftermath, if you listen closely."

Disher, she said, taught her to believe in the part of herself that no one else could immediately see. "If I'm funny you can thank Michael Disher. Every one of my acting teachers steered me to drama except Michael Disher, who said, 'Girl, you're funny!' He gave me a comedic monologue which I tried to give back. No dice ± he made me an offer I couldn't refuse."

He told her, she said: "'People will laugh and you will have learned what I know.' So if people laugh, applaud Michael. He is fearless, experienced, patient, kind and very talented. His courage inspires me to do more and learn in a safe, comfortable and extremely fun environment. His casts, crew and mindset make for a terrific theatre experience."

Cincotta has a lesson she'd like to share with audiences: "Try something you've never done and do your very best whatever it is. Maybe your goal is to bake the best cookie, if you keep at it even if it's not the very best I can assure you it will be delicious."

Sue Conklin said the third scene in the show speaks to her heart. "I play a little girl asking her father if she can sit with him while he eats breakfast. When I was the same age as my character, eating in the dining room was a major event. It meant that my mother would brew coffee in an urn instead of using Taster’s Choice instant coffee crystals. The beautiful china with pink and yellow flowers would adorn the ironed damask that shrouded the table. My mother would curl my hair and put it in a bow that matched whatever dress she’d picked out. She would have me practice how to sit still with my napkin in my lap. She’d implore that I not speak until spoken to. My mother would apologize to the guests for not seasoning the vegetables because the children wouldn’t eat them otherwise. Yet being allowed to sit at the dining table was a rite of passage that I remember fondly. I don’t recall any conversations or even the names of most of the guests. But I’ll always remember the care that my mother took in creating a magnificent dinner and the love she showed in allowing me to be a part of it."

The overarching theme of the show is how times change while the scenery remains, Conklin sid.

"When the father, mother and children sit around the dining table at breakfast, there is a feeling of formality and gravitas even though this is a typical day. Conversely, in the second act there is air of irreverence and chaos as the father eschews the dinner ritual. The soup is getting cold, the lamb is overdone and the children knowingly egg on their father as he tries to explain the 'appalling fact' that Uncle Henry was accused of being gay at the country club."

Conklin said she has been performing in plays directed by Michael Disher since 2003. "Each experience has been transforming and meaningful to me. He always pushes me outside of my comfort zone, yet he never gives me anything I can’t handle. While this show differs from the musicals we once did that featured elaborate sets and choreography, it is no less powerful. He chose a wonderful cast to tell a story that resonates with us all. The actors are asked to embody characters of differing ages and demeanors. Through Michael’s direction, I think we’ve all succeeded in doing so."

The most important message she would like to share with audiences is this: "The dining room, in all of its iterations, represents the evolution of culture. We could say that life was so much better when things were more formal and dignified. But there is beauty to be found in each of the scenes. Whether the dining room is used as an office, a place to argue, a party venue or just a place to eat, it is where life happens. It would be nice to go back to using finger bowls and fine china. However, what matters most are not the things on the table but the people who surround it and the experiences they share."

Those attending the show can complete the day with dinner or brunch before the performance. Patrons need to show proof of ticket for that day to “The Dining Room.” Reservations are suggested. Payment for meals is made directly to the restaurant.

Offers include:

1. Publick House, 62 Jobs Lane, Southampton. 631-283-2800. Offers 15 percnt off the regular menu on the day of the show. Drinks, tax, and gratuity are not included in the 15 percent discount.
2. Claude’s Restaurant at The Southampton Inn, 91 Hill Street, Southampton. 631-283-6500. Brunch is served from 11 a.m. to 2 p.m. on the days of the show and the offer is a special price of $28.
3. Bamboo Restaurant, 76C Job’s Lane, Southampton. 631-488-4240. Offers 20 percent off the regular menu. Drinks, tax and gratuity not included in discount. Happy hour specials and specials are also not included.

Tickets to the show areavailable here or by calling 631 283-0967. For discounted group ticket sales, contact Mikela Ryan at [email protected].