A superbly cast double-bill of Party Time and Celebration makes up a sharp Pinter Six at the Harold Pinter Theatre
“My driver had to stop at a….what do you call it…roadblock.”
One of the benefits in producing such a wide-ranging festival as Pinter at the Pinter has been the flexibility in its programming, allowing for thematic evenings to emerge as opposed to a straight chronological trip through the canon. So here, Jamie Lloyd is able to bring together two plays set at gatherings, both conveniently cast for nine people.
The first social occasion is the most effective, 1991’s Party Time begins with the sepulchral chords of Handel’s Sarabande in D Minor processed through an electronic filter and its partygoers sat in a line facing the audience. They’re members of a private club and we slowly learn that as they sip champagne, the world outside has gone to shit. Continue reading “Review: Pinter Six, Harold Pinter Theatre”
Jane Horrocks and Rupert Graves shine in Pinter Five, featuring The Room, Victoria Station and Family Voices at the Harold Pinter Theatre
“You know where you are here”
Pinter Five sees Patrick Marber, someone who could call Harold Pinter a friend and colleague, take the directorial wheel as he presents a triple-bill of The Room, Victoria Station and Family Voices, delving further into the wealth of short plays left behind by the playwright.
The first half is taken up by Pinter’s first play, 1957’s The Room, a prototype for so much of what was to come as he settled into his distinctive voice. The air of menacing strangeness looming over seemingly everyday situations, visitors who disrupt and disturb, relationships that can never be quite pinned down… Continue reading “Review: Pinter Five, Harold Pinter Theatre”
Pinter Four serves up something of a difficult double bill at the Harold Pinter Theatre, but Bríd Brennan and Janie Dee are there to help us through the dark times
“Rationality went down the drain donkey’s years ago and hasn’t been seen since”
Thing about blogging is you can’t hide from the past, or your past opinions, so the fact that the first time I saw Harold Pinter’s Moonlight was one of the most torturous hours I’d spent in a theatre up until then is no secret. So the fact that it was included along with Night School in the double bill that makes up Pinter Four gave me significant – Pinteresque even… pause.
But that was seven years ago, people change, as do tastes, and the luxury casting of the Pinter at the Pinter season made it an attractive enough proposition to revisit. And am I a now Moonlight convert? Not exactly, but it did prove a less painful experience, even if it does still maintain a power to elongate time which is exacerbated by its coolly distant demeanour. Continue reading “Review: Pinter Four, Harold Pinter Theatre”
Beginning with a burst of confetti and ending in a sombre drop of petals, Pinter One is the far darker side of Pinter at the Pinter
“They don’t like you either, my darling”
I found myself enjoying Pinter Two much more than expected and so momentarily forgetting that I’d sworn off the whole thing, I rashly decided to book in for Pinter One, which proves to be an entirely different kind of affair. Not just thematically – it’s an overtly political collection of works and thus considerably darker – but structurally, gathering together no less than nine short pieces, eight of which run together to make the first half.
They’re Press Conference / Precisely / The New World Order / Mountain Language / American Football / The Pres and an Officer / Death / and One for the Road (all directed by Jamie Lloyd) with Ashes to Ashes (directed by the Lia Williams) following after the interval. And so ultimately it feels a bit more like a showcase of Pinter which brings with it some challenges, alongside the interest value in unearthing some lesser-seen works, including a world premiere. Continue reading “Review: Pinter One, Harold Pinter Theatre”
– Tom Hiddleston, Kristin Scott Thomas, Kit Harington, Simon Russell Beale, Indira Varma, Zawe Ashton and many more announced
– Happy Birthday, Harold will take place on what would have been the Nobel Prize winning playwright’s 88th birthday on October 10th
– Charity event will raise money for Amnesty International and Chance to Shine
– Tickets are on sale now
Continue reading “The Jamie Lloyd Company announces cast for charity gala to celebrate Harold Pinter’s birthday”
I’m somewhat seduced by the Pinter Two double bill of The Lover and The Collection at the Harold Pinter Theatre – fetch the olives!
“Did you show him the hollyhocks?”
Truth be told I’m not much of a Pinter fan though I do find the occasional production to be sufficiently compelling to keep me coming back to test my prejudices. And so the Pinter at the Pinter season certainly piqued my interest, if getting me rushing out of the door to book – it took a crucial recommendation to get me to the Harold Pinter for Pinter Two – The Lover/The Collection and I have to say I’m glad I allowed myself to be persuaded.
Both directed by Jamie Lloyd, they offer complementary but contrasting 60s aesthetics (beautifully realised in Soutra Gilmour’s design) – the first part more a sitcom going strange, the second a darker, more mysterious prospect from the off. And cast to the hilt in some of the most luxurious casting a single West End season has ever garnered, it’s all really rather captivating. Continue reading “Review: Pinter Two – The Lover/The Collection, Harold Pinter Theatre”
The Jamie Lloyd Company, Ambassador Theatre Group, Benjamin Lowy Productions, Gavin Kalin Productions and Glass Half Full Productions present an extraordinary season of Harold Pinter’s one-act plays on the tenth anniversary of the Nobel Prize winner’s death, performed in the theatre that bears his name.
Pinter at the Pinter is a unique event featuring all twenty short plays written by the greatest British playwright of the 20thCentury. They have never been performed together in a season of this kind. Continue reading “Pinter at the Pinter”
“You know what it’s like when you’re in a room with the light on and then suddenly the light goes out? I’ll show you. It’s like this.”
He turns out the light.
I do try and test my prejudices when it comes to playwrights for whom I have little fondness but the reality is that its hard to psyche yourself up in the name of being open-minded. Pinter is one of those writers for me, I can’t say I’ve ever enjoyed myself at one of his plays and at this point, I can’t see myself having a breakthrough moment with him in the way that I did with, say, Chekhov.
The main reason I allowed myself to be persuaded to see Sean Mathias’ production of No Man’s Land, previously seen in New York, was the cast – theatrical royalty in Ian McKellen and Patrick Stewart plus Damian Molony and Owen Teale – but even then I can’t say that I was anything but bored in this tale of two old actors who may or may not share a past and waste a whole lotta breath skirting around it.
Running time: 2 hours 5 minutes (with interval)
Booking until 17th December
“You wouldn’t understand my works. You wouldn’t have the faintest idea of what they were about. You wouldn’t appreciate the points of reference.”
It’s good to know that theatre directors are only human too – anyone in their right mind who watched Channel 4 drama Humans over the summer would have noted Gemma Chan delivering one of the performances of the year in any medium and naturally wanted her in on their projects. She has been working for a while in film, TV and theatre but now she’s now appearing in Harry Potter spin-off Fantastic Beasts and Where to Find Them and Jamie Lloyd has secured her services on stage in his new production of The Homecoming.
Truth be told though, I needed someone that exciting to tempt me to see it as I don’t much get on with Pinter, I’ve never had that breakthrough moment with any of his works to make me what received wisdom assures me is there. And whilst I wouldn’t go quite so far to say I’m a complete convert, I can honestly say I haven’t ever enjoyed a Pinter production as much as this one. It’s the 50th anniversary of The Homecoming but though firmly anchored in its 1960s milieu, Lloyd imbues the play with a strongly contemporary dramatic feel that is hard to resist. Continue reading “Review: The Homecoming, Trafalgar Studios”