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Speaker 1: You were listening to Ruthie's Table four. In partnership with Montclair.

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Speaker 2: I always like to have the tannoid the show replay

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Speaker 2: on in the dressing room so you can you can

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Speaker 2: feel the mumble mumble of the of the audience as

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Speaker 2: they come in. And it's great to be backstage before

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Speaker 2: the house lights go down, whether you have the first

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Speaker 2: entrance or not, because you can feel the texture of

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Speaker 2: the of the of the show and what mood they're in.

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Speaker 2: And I think that's the thing about working with a

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Speaker 2: great ensemble is you want the audience will influence the show,

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Speaker 2: but you've got to say, come with us. And so

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Speaker 2: sometimes if they're laughing too much, or you think, oh

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Speaker 2: they didn't quite understand that, or they didn't find that

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Speaker 2: as funny as last night, then it alters the way

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Speaker 2: the playing. It's a bit like being you know, on

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Speaker 2: open Sea. So yeah, I think it's you can definitely tell.

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Speaker 2: And then a Wednesday matinee is really different to a

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Speaker 2: Friday night or a Saturday night.

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Speaker 1: And also we as the audience can see, also have

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Speaker 1: a sense of the ensemble. You see how they are relating,

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Speaker 1: and people will say, I mean, you know, very often

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Speaker 1: I always sit at the table closest to the kitchen,

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Speaker 1: and I can see. They say, look at how they're

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Speaker 1: all talking, and I said, yeah, they should be talking

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Speaker 1: less and looking more. But they're all they're telling each

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Speaker 1: other their news, or they're talking, or they're moving, and

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Speaker 1: you can that also. That's why I love an open kitchen,

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Speaker 1: you know, because it is a performance that people always

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Speaker 1: say that. You know, there's a lot of drama in

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Speaker 1: the restaurant. There's a drama between the chefs and the chefs,

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Speaker 1: the chefs and the waiters, the waiters and their customers

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Speaker 1: and their customers and their customers, you know. But there's

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Speaker 1: an immediacy too. My husband was an architect and he

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Speaker 1: didn't get to see his work done for three or

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Speaker 1: four years, but then it lasted for hundreds of years.

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Speaker 1: Will whereas ours is very immediate. You know. What we

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Speaker 1: do here as certainly is I can make something things

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Speaker 1: really good, and then it gets eaten and it's gone.

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Speaker 2: It's such a wonderful marriage because so much about eating

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Speaker 2: is about the atmosphere in which you eat or you create,

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Speaker 2: and so the space is space is important.

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Speaker 1: Yeah, yeah, we were talking about that yesterday. But in

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Speaker 1: terms of if you were thinking about restaurants that you

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Speaker 1: didn't go for the food just but where's a room

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Speaker 1: that you walk and you go, wow, I'm in this

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Speaker 1: beautiful room tonight to have a fabulous meal. We're trying

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Speaker 1: to think which restaurants. I think the walls they kind

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Speaker 1: of made you feel when you walked in there was

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Speaker 1: a drama and the height in the moo. Yeah. Yeah,

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Speaker 1: there's a restaurant in Paris called the Trambler. There is

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Speaker 1: in the garden Lyon, and then they're just a small

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Speaker 1: little places like a little Lebanese down the road. But

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Speaker 1: you know the room is you know, it's part of.

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Speaker 2: The those little hole in the wall places, mum and

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Speaker 2: pop places you find in Rome, which will have one table,

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Speaker 2: eight chairs and you just get what they're cooking. And

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Speaker 2: I love that. I really love that, because sometimes you

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Speaker 2: can you can be overwhelmed by choice, you know the

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Speaker 2: fact that we can choose anything, have everything, and so

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Speaker 2: you become in a way, you lose your appetite.

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Speaker 1: I think thank you for listening to Ruthie's Table four

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Speaker 1: in partnership with Montclair