Some Pinter plays are relatively easy to decode: most critics concur with the idea The Dumb Waiter (1960) is about a pair of hit men, awaiting instructions for a job. Betrayal (1978) is the story of a love affair, with the narrative running in reverse. But there are other works which defy straightforward interpretation. No Man’s Land, first produced in 1975 (and starring legendary thespians, John Gielgud and Ralph Richardson), belongs firmly in the latter camp. It was successfully revived a few years ago in the West End, with another pair of big-hitters, Ian McKellen and Patrick Stewart. This touring revival from London Classic Theatre can’t compete with such star wattage, but it’s a decent production which director, Michael Cabot imbues with a sense of low-level dread. What it lacks at this stage is a sufficient degree of polish.

The plot revolves around a chance meeting between two elderly writers in a North London pub, which leads to an alcohol fuelled night of reminiscence, fantasy and verbal jousting. Hirst (Moray Treadwell) is a wealthy and successful critic, who lives in an oppressive Hampstead Mansion, alone but for the presence of two slightly threatening man-servants, Briggs and Foster (Graham O’Mara and Joel Macey). Spooner is a down-on-his-luck poet, who helps out in a local pub. As the shadows lengthen and the booze flows, their stories – including a shared University history  – become ever more elaborate and improbable. Is this real or merely a twisted role play? Who wrote the rules? And why is Joel Macey wearing such a terrible wig?

Many of Pinter’s plays are structured around the intrusion of a stranger – or strangers – into a hermetically sealed world, their presence a catalyst for disruption (Pinter is arguably the Godfather of the ‘home invasion’ horror sub-genre). The dynamic between characters is often ambiguous: there’s a power struggle going on, and language – oblique and repetitive – is the weapon. The insults Briggs hurls at Spooner in Act 2 are vicious and blackly funny. In spite of this humiliation, the desperate Spooner believes he has more to offer Hirst as a manservant, and offers up a long verbal resume. ‘I can play chess and the piano’, he enthuses, ‘and my kitchen would be spotless!’ When it finally arrives, Hirst’s dismissal is witheringly cruel.    

Given Pinter’s refusal to draw up dramatic specifics, decisions on character motivation are always down to the director and actors. Hirst, Spooner, Foster and Briggs (all named after Golden-era cricketers) each have their own agenda, even its unconscious. A play like this needs detailed, nuanced performances to fly, and whilst the cast are good, there are a number of scenes where the energy flags. I suspect Nicholas Gasson hasn’t fully figured out Spooner’s precise back-story or psychology; his blank reaction to Hirst’s rejection deprives the last scene of the necessary impact.

But this is the first date on an extensive, 22 date tour for London Classic Theatre, continuing until early November. A few weeks down the line, I imagine No Man’s Land will be a richer, far more rewarding experience. I would be interested enough to go and watch it again.

No Man’s Land is at Oldham Coliseum Theatre from 5-7 September 2019. Visit London Classic Theatre website for full tour details.

Read our interview with director and artistic director of London Classic Theatre, Michael Cabot.

The post No Man’s Land, London Classic Theatre on Tour: Review appeared first on Quays Life.

Michael, for those that don’t know the play, how would you describe No Man’s Land?

Michael: “It’s a fascinating piece.  The play is set in the Hampstead townhouse of Hirst, a successful writer.  When the play begins, he has invited Spooner, a down-at-heel poet, back to his home after a chance meeting in a pub.  The pair continue drinking until the early hours, talking and telling stories, getting progressively more inebriated.  But as always, with Pinter, nothing is quite as it seems.  Two younger men arrive at the house in the early hours of the morning, forcing events to take an unexpected turn”.

What do you think Pinter is telling us in the play?

Michael: “I think Pinter likes to tease us, test us.  He doesn’t want an audience to get too comfortable, to settle, so there is an awful lot of ambiguity.  Pinter likes to challenge an audience, so he deliberately creates a sense of tension and unease.  It’s a brilliant platform to build upon as that danger is always present and there is always the sense that chaos, or of course comedy, is just around the corner”.

There have been some very famous productions – John Gielgud/Ralph Richardson, Michael Gambon/David Bradley, Ian McKellen/Patrick Stewart – how do you escape their shadow and approach a new production of No Man’s Land?

Michael: “I don’t think about that too much, if I’m honest.  I approach each new production as if it were a completely new play, so a lot of reading, a lot of investigation and I don’t really pay a lot of attention to previous incarnations.  I saw the Gambon/Bradley production and thought they were both excellent.  I think our production will be very different though.  I’m very excited about our cast, three of whom I’ve worked with before.  During my audition process, I like to get the actors working together on the scenes.  When we auditioned for this production, when our quartet read together, there was something very special happening in the room.  I’m very much looking forward to the start of rehearsals.     

What do you most enjoy about the play?

Michael: “Unquestionably, the language.  Pinter was a master of his craft and his use of words was extraordinary.  Everything is there for a reason.  Every phrase, every nuance, every use of punctuation.  His plays are always a joy to rehearse as there is so much to explore.  And of course, the characters are wonderful.  As with all of Pinter’s plays, he leaves an awful lot unspoken, so that gives the actors a lot of room for manoeuvre and interpretation”.

And what is its greatest challenge?

Michael: “I think you have to trust the play to keep some of its mystery and not try to nail everything down.  Pinter loved to keep his audience guessing.  I think that No Man’s Land has the potential to be extremely funny, but you can’t go looking for laughs.  You have to be confident the play will work its magic”.

You have directed Pinter plays a few times, what is it about his writing that makes him as relevant today as ever?

Michael: “Yes, this will be my fifth Pinter play as director, so you can say I’m something of a fan!  Like Shakespeare, his writing is truly universal and essentially timeless.  He broke new ground throughout his career.  I believe his plays will still be performed decades from now.  His mastery of language, his ability to provoke and surprise will continue to engage audiences for a long time to come”.

No Man’s Land is at Oldham Coliseum Theatre from 5-7 September 2019. Please note that the show has an age recommendation of 16 plus due to use of very strong language.

The post “He doesn’t want an audience to get too comfortable” – interview with Michael Cabot, Artistic Director of London Classic Theatre appeared first on Quays Life.