Reviews of A New Kind Of Wilderness, The Marching Band, Good One and Magic Farm by MARIA DUARTE, ANDY HEDGECOCK and MICHAL BONCZA
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The gift that keeps on giving
There are yet more delights in the ongoing season of Harold Pinter plays in London, says MARY CONWAY
Alienated: Luke Thallon and Jane Horrocks in Pinter Five
SCOTT ALSWORTH foresees the coming of the smaller, leaner, and class conscious indie studio, with art as its guiding star
MARJORIE MAYO recommends an accessible and unsettling novel that uses a true incident of death in the Channel to raise questions of wider moral responsibility
MIK SABIERS wallows in a night of political punk and funk that fires both barrels at Trump
Reasonable radicalism, death in Abu Dhabi, locked-room romance, and sleuthing in the Blitz
SIMON DUFF recommends a new album from renowned composer and oud player Anour Brahem.
JAMES WALSH has a great night in the company of basketball players, quantum physicists and the exquisite timing of Rosie Jones
Pinter Five and Pinter Six
Harold Pinter Theatre, London
THE JAMIE LLOYD Company’s parade of Pinter short plays and monologues, a tribute to the writer who died 10 years ago, goes from strength to strength.
Pinter Five, directed by Patrick Marber, begins with The Room, the playwright’s first-ever work from 1957. With its miserable gas fire, filthy windows, drab functionality, fearful anonymity and menace, it’s disturbingly evocative of the period.
The play’s tension never falters as Rose (Jane Horrocks) and her husband (Rupert Graves) fail to communicate — she through a torrent of continuous gabble, he through a persistent and threatening silence.
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