Exposes Flaws in Social Care for the Vulnerable Elderly
H&H Series Thursday, January 25, 2018 29 ETCETERA REVIEW: The Birthday Party, Harold Pinter Theatre ★★★★✩ combination of demanding infant, wild eccentric and Harold Pinter’s notorious hollowed-out victim. When early flop baffled critics and he bangs a toy drum, he audiences alike. Now, we lapses into a manic glee that expect his subversion of the hints at brutality, but his mystery thriller that, as a bullish defence gradually jobbing actor, Pinter was crumbles. playing in rep. But Ian Tom Vaughan-Lawlor Rickson’s starry provides a furiously 60th-anniversary revival paranoid McCann, and proves the play still has the superbly handles the rat-a- power to unsettle. tat interrogation with Stephen Mangan. The latter In a rundown seaside convincingly laces boarding house, Stanley is Goldberg’s garrulous the sole guest of Petey and geniality with menace – Meg – until two sinister even his height becomes a men, Goldberg and McCann, weapon – but loses the come to claim him. Rickson’s intensity, and thus the detailed, naturalistic danger, towards the end. production is supported by Pearl Mackie enlivens the the Quay Brothers’ spot-on thinly written Lulu (purely Fifties design: lace curtains present as a sexual victim), and wallpaper puckering bringing a chipper charisma with damp. and then convincing sense There’s similar care with of trauma. characterisation. Zoë It’s astonishing how Wanamaker and Peter Wight defined Pinter’s voice is so make the marriage feel early on: the musicality of lived-in, Wanamaker hinting place names, muddling of that Meg’s distraction might memory, the absurdities, signal dementia, the latter contradictions and creeping touchingly patient with her dread beneath the mundane.
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