The Table examines human emotions and reactions in every day life, with no one character being anything other than flawed in his or her own way. Set against a background of dynastic business – which never goes in a straight line – it begins at the start of the twentieth century through to the present day. Theo, a British architect quietly influenced by German design post war, fathers a child - Samuel - who becomes central to the themes of the story even after his death. Theo’s relationship with the child’s mother is complex – as are all relationships. But his influence leads to Samuel following almost in his father’s footsteps and creating what is eventually a hugely successful building development company. But as Samuel ages, other forces come into play and he is forced to retreat into the background. Or so it might seem to his protagonists. Samuel appoints a successor and begins a chain of actions and reactions which continue – and become more complex - even after his death. Long after his death. Almost a century on from Samuel’s birth, business and board room battles, jealousies, betrayals and reconciliations grow to proportions which lead to deaths (some accidental – others debatable) and deceit. None of which, of course, would have happened if Samuel hadn’t set out on the course which he had, many decades before. The story is played out by human beings with all of the natural traits of every human being, where nothing is black and white, against the century of business defined by onlookers as complete success. But the human cost is only known by those playing out the parts. There are no definitive answers, even at the death of Samuel’s eventual successor.