Pinter exploring toxic masculinity
One of the most influential playwrights of the 20th century, Harold Pinter’s work defined an era of British theatre and when new productions of his work come around there is always great interest. The Homecoming, one of his more ambiguous pieces, plays at the Young Vic covering this festive period through to the end of January, writes Christopher Peacock.
The Homecoming that the name implies is that of Teddy, returning with his wife Ruth to his estranged family home for a visit. Teddy’s return comes after spending the previous six years in the USA lecturing philosophy with Ruth, a stay at home mum raising their three children whom he married in a hurry before leaving the UK.
The family home that they return to is that of patriarch Max who lives there with Teddy’s two younger brothers, Lenny and Joey, and their uncle Sam. From the very start the familial interactions amongst the men are just flurries of insults and posturing as they parade their masculinity. Things then take a darker tone as the initial mocking of Ruth changes and becomes a discussion of how they can all benefit from her presence and how they can use her.
The Homecoming comes with all the characteristics of Pinter’s work, the pauses, the phrasing, the London-centric slang and detailed speech. All of the cast handle this well: Joe Cole as Lenny really leans into it, almost taking the character into the realms of pastiche, but it is Nicholas Tennant as Sam, playing it with a level of authenticity that makes his performance stand out.
Moi Tran’s set design is rather large and the props all rather dainty which belies the rough masculinity of the environment the residents have created and removed any sense of claustrophobia that would aid the tension.
Director Matthew Dunster does highlight some interesting moments between pairs of characters. He heightens the action, intensifies the lighting to create and add further meaning to some of the discourse.
The Homecoming is Pinter exploring what we would today define as toxic masculinity. The male chauvinism and misogyny from Max and his sons is shocking for a modern audience. There is room in the production to take this further and create more unease and real menace. This production does pivot on the performance of Lisa Diveney as Ruth, the control and agency that she tactfully portrays is key to making this show a success.
Young Vic, 66, The Cut, SE1 8LZ until 27th January. Times: Mon – Sat 7.30pm; Wed & Sat matinees, 2.30pm. Admission:
Booking: www.youngvic.org – 0207 922 2922
