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Harry Derbyshire reviewed the play in Modern Drama, concluding "Small but perfectly formed, The Dumb Waiter might be considered the best of Harold Pinter's early plays, more consistent than The Birthday Party and sharper than The Caretaker. It combines the classic characteristics of early Pinter – a paucity of information and an atmosphere of ...
It featured productions of seven of Pinter's plays: The Caretaker, Voices, No Man's Land, Family Voices, Tea Party, The Room, One for the Road, and The Dumb Waiter; and films (most his screenplays; some in which Pinter appears as an actor). [168] In February and March 2007, a 50th anniversary of The Dumb Waiter, was produced at the Trafalgar ...
Harold Pinter's reading of a selection of his prose fiction and poems, 92nd Street Y New York City, 12 November 1964 – Hyperlinked in "92Y Podcast: Remembering Harold Pinter, British Playwright", 25 December 2008 (MP3; 65:41); includes: "Tea Party / New Year in the Midlands / A Glass at Midnight / You in the Night / The Drama in April / The ...
Pages in category "Plays by Harold Pinter" The following 33 pages are in this category, out of 33 total. ... The Dumb Waiter; F. Family Voices; H. The Homecoming; The ...
The Room is Harold Pinter's first play, written and first produced in 1957. Considered by critics the earliest example of Pinter's "comedy of menace", this play has strong similarities to Pinter's second play, The Birthday Party, including features considered hallmarks of Pinter's early work and of the so-called Pinteresque: dialogue that is comically familiar and yet disturbingly unfamiliar ...
The two characters Ben and Gus in Harold Pinter's The Dumb Waiter. A two-hander is a term for a play, film, or television programme with only two main characters. [1] The two characters in question often display differences in social standing or experiences, differences that are explored and possibly overcome as the story unfolds.
One for the Road, considered Pinter's "statement about the human rights abuses of totalitarian governments", [1] was inspired, according to Antonia Fraser, [2] by reading on May 19, 1983, Jacobo Timerman's Prisoner Without a Name, Cell Without a Number, a book about torture on Argentina's military dictatorship; later, in January 1984, he got to write it after an argument with two Turkish girls ...
Comedy of menace is the body of plays written by David Campton, Nigel Dennis, N. F. Simpson, and Harold Pinter.The term was coined by drama critic Irving Wardle, who borrowed it from the subtitle of Campton's play The Lunatic View: A Comedy of Menace, in reviewing Pinter's and Campton's plays in Encore in 1958.