Difference between revisions of "The Homecoming (1985)"
(typos fixed) |
Mark Ireson (Talk | contribs) (→Reviews) |
||
| (6 intermediate revisions by 5 users not shown) | |||
| Line 1: | Line 1: | ||
[[Image:CHANGETHISNAME.jpg|thumb|300px|Poster by [[Poster Designer]]]] | [[Image:CHANGETHISNAME.jpg|thumb|300px|Poster by [[Poster Designer]]]] | ||
| − | by [[ | + | by [[Harold Pinter]] |
Directed by [[Tina Massey]] | Directed by [[Tina Massey]] | ||
| Line 10: | Line 10: | ||
== Introduction == | == Introduction == | ||
| − | + | The action takes place in North London. | |
== Cast == | == Cast == | ||
| Line 33: | Line 33: | ||
== Reviews == | == Reviews == | ||
| − | ..... "The Homecoming" certainly features a clutch of unusually repellent characters, not to say wildly illogical ones. Max, a scruffy old widower and ex-butcher, has three sons; Lenny, a layabout and probable pimp; Joey, an uncouth boxer; and Teddy, a Doctor of Philosophy newly returned from America with his wife, Ruth. Max's brother Sam, a | + | ..... "The Homecoming" certainly features a clutch of unusually repellent characters, not to say wildly illogical ones. Max, a scruffy old widower and ex-butcher, has three sons; Lenny, a layabout and probable pimp; Joey, an uncouth boxer; and Teddy, a Doctor of Philosophy newly returned from America with his wife, Ruth. Max's brother Sam, a chauffeur, is by a long way the most sympathetic character.................. |
Tina Massey's production can hardly be said to fire on all cylinders. As the ambiguous Lenny, Paul Hutchinson does not quite get the measure of Pinter's elusive rhythms. His grotesque stories of the dockside girl and the old woman fail to convey either of the essential qualities of verbal humour or brooding menace. | Tina Massey's production can hardly be said to fire on all cylinders. As the ambiguous Lenny, Paul Hutchinson does not quite get the measure of Pinter's elusive rhythms. His grotesque stories of the dockside girl and the old woman fail to convey either of the essential qualities of verbal humour or brooding menace. | ||
| Line 41: | Line 41: | ||
There is a pleasing measure of equivocation about Brian Scoltock's Teddy, picking his way prissily through a Pinteresque minefield. As Ruth, Kate Nash opts for a deadpan delivery suggesting that she keeps her thoughts where Pinter left them, deep within her skull. | There is a pleasing measure of equivocation about Brian Scoltock's Teddy, picking his way prissily through a Pinteresque minefield. As Ruth, Kate Nash opts for a deadpan delivery suggesting that she keeps her thoughts where Pinter left them, deep within her skull. | ||
| − | The strongest piece of acting comes from Terry Neale as Max. He gives a performance of high voltage, teetering on a tightrope of danger | + | The strongest piece of acting comes from Terry Neale as Max. He gives a performance of high voltage, teetering on a tightrope of danger; every word seems to mask some inner meaning. |
There is poison even in the honey, and John Lyne plays the homely Sam as a worthy foil, his very decency a counterpoise. | There is poison even in the honey, and John Lyne plays the homely Sam as a worthy foil, his very decency a counterpoise. | ||
| − | Ambiguous to the last, Pinter brings about Sam's collapse with a stage direction that he "croaks". Opinion is divided as to whether he is | + | Ambiguous to the last, Pinter brings about Sam's collapse with a stage direction that he "croaks". Opinion is divided as to whether he is actully dead or only unconscious. The master of enigma strikes again. |
Donald Madgwick, reprinted in SCENE from The Croydon Advertiser, with permission. | Donald Madgwick, reprinted in SCENE from The Croydon Advertiser, with permission. | ||
| Line 67: | Line 67: | ||
== External Links == | == External Links == | ||
| − | *'''[http://www. | + | *'''[http://www.haroldpinter.org//plays/title_homecoming.shtml The Homecoming on Pinter's official website] |
[[Category:Productions|Homecoming, The]] | [[Category:Productions|Homecoming, The]] | ||
[[Category:Bell Theatre Productions|Homecoming, The]] | [[Category:Bell Theatre Productions|Homecoming, The]] | ||
| + | [[Category:Reviewed by the media|Homecoming, The]] | ||
Latest revision as of 11:52, 26 February 2015
Directed by Tina Massey
Performances: Sun 3rd – Sat 9th February 1985, Bell Theatre
Contents
Introduction
The action takes place in North London.
Cast
- Max - Terry Neale
- Lenny - Paul Hutchinson
- Sam - John Lyne
- Joey - Geoff Munday
- Teddy - Brian Scoltock
- Ruth - Kate Nash
Crew
- Stage Manager - Beverly Dalton
- Assistant Stage Manager - Patricia Kane
- Lighting - Peter Boon
- Set Design - Victor Kelly
- Set Construction - Bernie Bullbrook
- Prompt - June McAuliffe
Reviews
..... "The Homecoming" certainly features a clutch of unusually repellent characters, not to say wildly illogical ones. Max, a scruffy old widower and ex-butcher, has three sons; Lenny, a layabout and probable pimp; Joey, an uncouth boxer; and Teddy, a Doctor of Philosophy newly returned from America with his wife, Ruth. Max's brother Sam, a chauffeur, is by a long way the most sympathetic character..................
Tina Massey's production can hardly be said to fire on all cylinders. As the ambiguous Lenny, Paul Hutchinson does not quite get the measure of Pinter's elusive rhythms. His grotesque stories of the dockside girl and the old woman fail to convey either of the essential qualities of verbal humour or brooding menace.
Geoff Munday's Joey is nicely balanced between optimism and sullen ignorance, but created minimal interest in the character.
There is a pleasing measure of equivocation about Brian Scoltock's Teddy, picking his way prissily through a Pinteresque minefield. As Ruth, Kate Nash opts for a deadpan delivery suggesting that she keeps her thoughts where Pinter left them, deep within her skull.
The strongest piece of acting comes from Terry Neale as Max. He gives a performance of high voltage, teetering on a tightrope of danger; every word seems to mask some inner meaning.
There is poison even in the honey, and John Lyne plays the homely Sam as a worthy foil, his very decency a counterpoise.
Ambiguous to the last, Pinter brings about Sam's collapse with a stage direction that he "croaks". Opinion is divided as to whether he is actully dead or only unconscious. The master of enigma strikes again.
Donald Madgwick, reprinted in SCENE from The Croydon Advertiser, with permission.
Gallery
Reminiscences and Anecdotes
Members are encouraged to write about their experiences of working on or seeing this production. Please leave your name. Anonymous entries may be deleted.
See Also
Have there been other SLTC/SLT productions of this play? Link to them here.
Or add anything that is related within this site. The author's page for instance or other plays with a similar theme.
References
<references/>
