Where music and drama combine
THE WOMAN WHO COOKED HER HUSBAND
This is an original and spicy take on the love triangle scenario, mixed in with some pitch-black humour and served with a generous pinch of salt! This play tackles two of Britain's favourite obsessions: food and sex. In the context of the play these elements become a dangerous combination, both physically and mentally. The characters explore the way that obsession with food and sex can lead to the ultimate sacrifice! This is a mix of 'fatal attraction' meets Hell's Kitchen'! and is set to the music of Elvis Presley.
Reminiscent of Dennis Potter's screenplays and told in flashbacks, this comic three-hander is set in the era of rock 'n' roll and looks at the revenge wreaked on a husband by his wronged wife when he deserts her for a younger model. There is only one problem…the younger model, Laura, can’t cook. Kenneth laments the loss of ‘Sunday roasts and haute cuisine and the comforts of the settled life’, and a sudden dinner invitation from the ex is readily accepted. Little does Kenneth know what lies in store…!
CAST:
HILARY: Kenneth’s first wife. Extremely late 30’s – late 50’s. Kempt, homely, expert domestic goddess with amazing culinary skills, but has a delightfully wicked side.
KENNETH: An ageing teddy boy, hankering after lost youth. From extremely late 30’s – late 50’s. Attractive enough to have gained a mistress, sloppy enough due to his love of good food and wine etc. Sees himself very much the Elvis singing and dancing impresario of the home – to his cost! Actor must be prepared to be physical at times.
LAURA: Mistress. Good looking, vibrant, free spirited, game girl, early 30’s – early 40’s. Svelte, but cannot cook! Actress must be prepared to be physical at times.
The play was originally set in Liverpool but can be in any working-class town in England so play to your strengths in terms of accent.
Production Notes:
This is a high energy, emotional journey. Each character has its own route to follow and the action flares when their individual and collective paths are crossed. The actors need to be able to explore emotional truth so that they are ready to “just be” when stepping onto the stage, with clear, fast, thought changes and yet an innocence in characterisation that keeps the play alive and real. The action is achieved with no props, rather using slick miming of lighting cigarettes, pouring drinks etc, so expert precision will be required to ensure the sense of time, place, and realism throughout the piece.
TWWCHH could almost be a tragedy, were it not for the dark comedy of the piece, which identifies, in a delightfully naughty way, the betrayal, fear, confusion and triumph of the relationships, and needs to be delivered so that the audience wants to applaud the ultimate come-uppance of Kenneth.