Dealer’s Choice

On the surface, Dealer’s Choice tells the story of restaurant workers who stay behind after service to play a game of poker. But beneath that, there’s a rich psychological exploration at play; of the human psyche, of addiction, and of masculinity. Why do people gamble? If you’re the best at the table, is it still gambling or is everyone else just a mug?

Don’t worry if you’re unfamiliar with the rules or variations of poker. You’ll easily follow along, apart from the few moments that are deliberately too advanced for anyone who isn’t a serious player.

As is often the case with Donmar productions, the set is beautifully realised. A functional kitchen fills the stage, complete with a pot boiling over and later, a flaming sauté pan. From the moment the audience enters, Daniel Lapaine sits onstage in character as Stephen, the restaurant owner, grounding the piece in realism.

The action begins with Hammed Animashaun as Mugsy, a high-energy, hilarious character who Animashaun brings to life with absolute charm. From the outset, he’s chatting with Theo Barklem-Biggs’ Sweeney, two lads having a fast-talking, cheeky exchange in thick London tones. But when Mugsy switches to speaking with his manager Stephen, there’s a noticeable change in his voice, clearer, more pronounced. It’s a small but beautifully observed choice that adds nuance and depth to the performance.

This is what I’d call an all-star cast, with each performer on par with the next. Many are recognisable from film and television. Each actor embodies a very ’90s archetype with Frankie (Alfie Allen) even describing himself as “a bit of rough.” The ’90s fashion is woven throughout the show, although some of it might pass by unnoticed at first, given how little certain cuts and styles have changed, mostly in the collars and trouser shapes. A chunky mobile phone helps to pin the era down more clearly.

Curiously, I think if I had seen this in its original 1995 run, I might not have enjoyed it as much. In some ways it feels relatively timeless, but updating it to modern dress would definitely rob it of its nostalgic charm.

Though the play won awards, it was Marber’s debut, and that occasionally shows, some of the early dialogue feels forced and overly long. However, as the action progresses, the rhythm improves. One particularly effective moment comes when two pairs of characters argue separately, but the scenes are crosscut so their arguments overlap resulting in a chaotic, brilliant crescendo.

Another standout scene features Ash (Brendan Coyle), a lingering customer who the staff try subtly, but firmly, to usher out. From menu items being unavailable to the bill being presented early and, finally, the music being turned off, it was spot-on. Having worked in restaurants myself, I recognised this situation too well.

After the interval comes the best scene change I’ve witnessed since the barricade in Les Misérables. Thankfully placed after the break, not during, it’s a marvel of stagecraft from designer Moi Tran. It’s one of those creative choices that may mean little to the plot but everything to the audience’s experience.

The second act grows more serious, with Mugsy providing much-needed comic relief. Animashaun’s performance becomes even more touching here, capturing the naïve hope and humanity of the working class.

The show ends with an almost circular structure, echoing early themes around coin flips, control, and who the real mugs are. It’s clever, well-paced, and thought-provoking.

This show was reviewed on the 29th April 2025 at the Donmar Warehouse where it runs until the 7th June 2025.  Tickets available here: DEALER’S CHOICE — BY PATRICK MARBER | Donmar Warehouse

Review written by Valentine Gale-Sides

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Photo credit: Helen Murray

Dealer’s Choice