The Dishwashers

A black comedy, The Dishwashers is an intense, sardonic battle of wits from the moment the new employee, Emmett, steps into Act One. The overseer of this small, dark kingdom is Dressler, who assumes the mantle of king-of-the-hill, albeit one made of dirty dishes bussed to the trenches from the kitchen above. Even this so-called classless society is riddled with the rituals of dominance, a pre-ordained pecking order where Emmett is the lowest common denominator. Replacing the ailing and elderly Moss, Emmett questions his role, his position and his life, only to be bombarded by the trivia of Dressler's pretensions. Their discussions, from the philosophical to the absurd, are the essence and bane of each day, a push and pull mirroring society at large, a microcosm of the outside arena. Spewing his part-Marxist, part-socialist, but always self-serving ideology, Dressler proves himself a petty demagogue, powerless to control Emmett's eventual escape.Tossing out phrases to support his position, "Supposition of accountability", "anticipatory spoilage", "unseen reliability", Dressler speaks the language of the entrenched worker who holds his position through expedience, skimming a small profit where it won't be noticed. He pontificates, precariously perched on top of the lowest heap in the restaurant food chain, opining that it all begins with the sparkling plates they deliver to the chefs. Like moles in a basement, the dishwashers are never visible to management, a necessary element in preparation of the final product. Dressler reigns in this private lair, Emmett at first resisting, then accepting his fall from previous customer to the lowliest worker, his former wealth reduced by unfortunate debts, later to be regained.As Emmett rails against the system, Moss is given his pink slip, although he doesn't leave. Dressler doesn't want his well-oiled machine to change, or his role as de facto leader, working on Emmett from the start to tailor his aspirations to the confines of his employment: "My hatred has become my discipline and my discipline my love." I could not help but cast these characters, although the play is Canadian and was first shown there: for Dressler, the late Chris Penn and for Emmett, the under-appreciated Michael Rappaport in this stimulating and provocative work. Luan Gaines/ 2006.

Brilliant. Great play and a great read.

Great book, great message.I'm a drama major and I can't get enough of Panych's work.