Abstract
Food and the communal consumption and enjoyment of food are a focal point of Italian wedding receptions in North America as in Italy (Harney 265), but food and eating take centre stage only briefly in Hoarse Raven Theatre’s Vancouver production of Tony n’ Tina’s Wedding. Vinnie Black, the caterer character, introduces the wedding feast, his “Buffet of Love,” with silly pomp: accompanied by dramatic music from 2001: A Space Odyssey, Vinnie lopes through the reception hall wrapped in an Italian flag and waving a plastic light-sabre toy and effuses into the microphone about how the buffet food has been lovingly prepared. But the fanfare quickly dies down. Even as the first table of audience members queues to load its plates with pasta, chicken, and salads, the antic, diffuse plot of Tony n’ Tina’s Wedding continues to unfold. The food, in its comforting abundance, quietly gives up the spotlight.
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