Although I couldn’t convince the editor to cover both parts of Kuradi Restoran, or the Devil’s Restaurant, I was delighted to make my way to Kellerteater for the first time in order to experience the rare-in-Tallinn joy of dinner theatre. In the dark days of December, the cast and crew invited audiences to step into an “end-of-the-world soul food establishment” for a meal courtesy of Fee Catering and served by some of the cast members and other Kellerteater stalwarts. The show features an original script by author and director Vahur Keller, sprinkled through with classic blues and soul numbers arranged by composer, sound designer, and music director Siim Aimla.
With the exception of a few untranslated songs, the production is entirely in Estonian. For those learning the language, I always recommend going to Estonian shows no matter your level – whether you’re just picking out familiar words or chatting with strangers, it’s great practice and helps develop vocabulary around specific interests more than general classes.
The crowd arrived early and well-dressed for the occasion, to a theatre laid out as a true dining hall, three large round tables placed along each long wall, almost cathedral like in bearing but equal parts wine cellar. The entrance was flanked by a bar on one side and the other occupied by coats and a serving station, and the far end had an elevated booth to either side – the darker corner to the left reserved for the light and sound technicians, and the bright right side bearing our emcee’s keyboard and central performance space – though the show itself spread the central length of the room, as well as using the exits on either end.
The staging is spooky, to be sure, as befits Tallinn’s specialty thriller theatre. The staff-actors are darkly garbed and elaborately coiffed, and gothic is de rigueur. There are hand sculptures and mirrors, ornate frames and raven-clad centrepieces, candles and chandeliers. Swinging blues rock plays in the background as we enter and take our seats.
I bought the last available ticket for this evening’s production, so I am seated at a table with two groups of friends and one other solo diner, with whom I strike up conversation – her husband could not make the journey, from what I understand, but we manage to keep each other chatting throughout the night. Others in the room are families, coworkers, old schoolmates, and one woman who is clearly a grande dame of the theatre, wandering between tables and greeting people. The crowd skews older, which makes sense given the ticket prices, but the tables are laid with juices, bread, and lingonberry water, and the wine is poured by a dour-faced man – not one of tonight’s performers but actorly in mien – who puts me strongly in mind of the Addams family’s Lurch.
Our host for the evening is a devil of a character, charming and congenial as he welcomes us to dine. The first round is served to the accompaniment of piano and vocals, and we’ve mostly eaten when things kick off in earnest. As this is one of Kellerteater’s original repertoire, I don’t want to give too much of the plot away, but the character work and choreography both shine. There are light detective moments, but the show is as much theatre as dining experience, with a lovely balance between drama and the opportunity for casual chat. There are loud noises, surprise twists, and a short window for audience interaction that draws the whole piece together.
All in all, it was a stunning performance of writing, staging, acting, and musical performance – and knowing that there’s a second part has me hopeful of my chances to see that one as well when it cycles back through. In the meantime, Kellerteater continues apace with a variety of productions – their newest piece, Verejälg (Bloodtrail), will have a review up soon as well as showings throughout the early part of this year. Others in the line-up that might be familiar, and therefore particularly good for Estonian-language learners, include adaptations of Stephen King’s Misery, Agatha Christie’s Murder on the Orient Express, and Dan Brown’s The DaVinci Code.
Author: Laurie
Laurie likes alliteration, ambiance, and lists with three things.
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