The Wives of Others

The spaghetti-strewn finery of a New York dinner party is transformed into a scene of untold carnage in The Wives Of Others - a gleefully bloody comedy by Tom Stuchfield. As brutal as it is farcical, this original writing production is a lot fun to watch.

A surreal string of gory machinations.

While their husbands are out on a job, the wives of seven Mafiosi gather for a dinner party. The fragile serenity of the evening does not last long, however, and soon the things turn nasty as the faux-friendly formalities are superseded by deep-seated resentments. Everyone, seems to have it in for someone else as ever more duplicitous plots and counterplots are revealed. Before long there’s more blood than bolognese on the crisp, white tablecloth.

Much of the show’s comedy comes from its farcical quality - the story manages to tread the delicate line between enjoyably confusing and irritatingly inscrutable in such a way as to have the audience giggling at the surreal events. Believability is not really a concern here and characters frequently soldier on through their bullet wounds with only minor inconvenience.

Despite some bad blocking and the slightly two-dimensional characters, the cast generally do a good job, pulling off the show’s vigorously fast paced script with a snappy, well-rehearsed ease. Particular credit goes to Emma Blacklay-Piech as Angie, the fiercely no-nonsense host of the dinner party, and to Rebecca Vaa as ‘Junior’, the much-dismissed teenage daughter of one of the Mafiosi.

A surreal string of gory machinations, The Wives of Others is an enjoyable, high-energy production that provides plenty of light amusement. 

Reviews by Nuri Syed Corser

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The Blurb

NYC, 1955. Angie and her friends are having a dinner party. Their Mafioso husbands are off on a job, but the real story is unfolding in Angie’s living room. Chronicling the violent and duplicitous events of one evening, The Wives of Others promises foul language, bloodshed, and a lot of spaghetti. With an all-female cast and original script from one of Cambridge’s most prolific playwrights, Tom Stuchfield, this is a brutally stylish, Tarantinoesque, pitch-black comedy unlike anything you’ve seen. ***** (Cambridge Student). Stuchfield’s And The Horse You Rode In On: ***** ( ***** (