STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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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
[Marc Brenner]
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
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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