Though it's a dreary, rainy Icelandic night, in the great room of Karl Johnson's ancestral mansion, the high, white, modern art-laden walls reflect abundant artificial light. More comes from the fireplace flanked by antique spears. Candles on the long down-front dining table reflect the silver and gleaming wine glasses, set up for just one.
Tycoon Karl (suave David Warner) will be feasting on the exact dinner his gourmet society business associates enjoy in Paris, sharing with them a ritual, though not his physical presence. Adeptly, he avoids all but business deals, which he injects even into flirtation with server Rosa (pretty Siwan Morris, a standout at acting perfectly normal). A stickler for timing, though -- as house manager Katrin reminds -- he's ahead on drinks, and Karl's put out when nondescript school teacher David Paulsen (earnest Philip Glenister) appears. Still, he decides to bend the "no outside invitees" Society rules for the "drop in" who says he knew Karl's son at school.
After truffles, each course features snails from a different country with appropriate wine. To Karl, the quality of the food and drink reflects their origins, just as genes determine that of people. One need but remark on the difference between his son, whose business acumen is adding to the enormous wealth Karl inherited and multiplied, and rumpled David. What with discussions about each other's families and fortunes, loyalties and infidelities, where the world has been and what it's coming to, when will be the right time for David to reveal why he came?
Everything's quite well made, up-to-date Ibsenish. Except for some mischief involving Karl's neighbors in which he gets David to take part, talk rules. Wine not only loosens tongues but also inhibitions! As one might anticipate from a playwright known principally as a novelist, dialogue is indeed literate. (Despite one or two brief opening night flubs, it seems completely natural to Warner, like the tux he wears.) Questions about Karl's dead brother, to whom Katrin (sturdy, likeable Sorcha Cusack) was devoted, heighten suspense, as does presence of the spears. Why does Karl's son phone and what's in David's briefcase?
If the talk weren't so insistent on genetic and socio-political opinions, one might classify the play as a mystery. Certainly, occasional shafts of music chill. Though the author's sentiments are transparent, the ending is a surprise. Fortunately, it's not a cheap one.
