Tiny Dynamite's A Play, a Pie, and a Pint, with David Grieg's 'Brewers Fayre'

Gibson's adept at choosing smart one-act plays, usually from the United Kingdom, that not only fit the format's time requirements — meaning one-acts, which professional theaters rarely produce here — and are worthwhile gems. Such is David Greig's Brewers Fayre, a simple romantic story told with refreshing style.

Getting to know you

Danielle Lenee plays "The Counselor," an apparent therapist who also narrates the action, explaining that the title refers to a Scottish pub food chain not unlike TGIFriday's. She also gives us our instructions, because the audience participates, though not in the typical, cringe-worthy ways. Who and what we become, and how we interact, are best left as surprises, but trust me, it's great fun.

Lenee introduces Christine (Meg Rumsey-Lasersohn), an unhappy young woman; an agoraphobic married man (Brian McCann), who stays in bed with his smart phone and laptop, reading about how the world is falling apart; and Anthony (Richard Chan), a young man obsessed with running, but slow with women. Corinna Burns also figures prominently. These characters come together through an online dating service, its sales pitch purr-fectly voiced by Lenee standing on a box speaking into microphone hanging from the ceiling.

The plot details — Anthony arranges a meeting with a tentative married woman, Elaine ("please don't send me a picture of your penis"), at the titular restaurant during holiday karaoke — seem simple, but the story's unconventional telling is superbly orchestrated by director David O'Connor.

We're in the play

As characters ourselves, as we gradually understand — I want to preserve the discovery for anyone fortunate enough to see Brewers Fayre during its too-short run — it's fitting that we're physically included. A large stage platform at one end of the Arden Theatre Company's black box space in the Hamilton Family Arts Center make it a two-level room, through which designer Sara Outing spreads cabaret tables and set pieces. No matter where we sit we're close to the action, the performers moving effectively around and between us.

This wouldn't have worked at PPP's previous home, the Red Room at the now-gone Society Hill Playhouse. Finding the right space, and making it seem ideal for the play, is an under-appreciated talent.

Outing and O'Connor, who designed the lights, make the atmosphere intimate, magical, and quirky, just like Greig's script. The trimmings that are PPP staples — pre-show live music, food and drink in the theater, even the bagpiper outside calling us to the theater — all add to the good feeling.

In many ways, Brewers Fayre and PPP are what theater is all about: a pleasant and revelatory shared experience, delightful surprises, euphoric satisfaction — and on top of that, fed, refreshed, and out the door by 7:30.