Theater review by Roseann Cane
Harold Pinter’s plays make great demands on actors. Ideally, the hallmark “Pinter pause” or “Pinter silence” should be at least as communicative and rich as the spoken dialogue, if not more so. I’ve seen productions where I can feel an actor ticking off the seconds until he or she speaks, and this can render the entire play tedious and slow and one-dimensional.
In a speech presented in 1962 to a student drama festival, Pinter said, “There are two silences. One when no word is spoken. The other when perhaps a torrent of language is being employed. This speech is speaking of a language locked beneath it. That is its continual reference. The speech we hear is an indication of that which we don’t hear. It is a necessary avoidance, a violent, sly, anguished or mocking smoke screen which keeps the other in its place. When true silence falls we are still left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness.”
It gives me great joy to report that this production of The Homecoming, beautifully directed by Eric Hill, boasts sterling actors who are not only up to the task, but inspired, fierce, funny, and fully realized.