Twenty of Harold Pinter's one act plays are being performed in seven sets at the theatre named after the playright. I chose the fourth set "Moonlight" and "Night School". I have to agree with most of the critics that these are not Pinter's best work. However, they still contain his classic word play and use of language. Lyndsey Turner has directed the first where Andy, played full tilt by Robert Glenister, is confined to his bed and (maybe) approaching death. Bel (a fine Brid Brennan) is his long suffering wife.
I was not impressed by the short scenes. I much prefer Pinter when his two characters have time to develop the story as in "No Man's Land" and "Betrayal". So sons Jake and Fred (miles away?) banter (on and off) with no real purpose. It is only when Maria (the consistently brilliant Janie Dee) visits the bedside that things sparkle.
The earlier second play "Night School" is a more coherent piece. The same actors from the first act are here again supplemented by Jessica Barden as Sally. She is the lodger who has taken the bedroom of Walter (Al Weaver) who has just returned from prison. The extended dialogue with Walter's two aunts, Brid Brennan and an unrecognisable Janie Dee is the best of this production.
I wasn't too keen on the set, a revolving stage with four pillars at the corners. And a drummer for the score? Director Ed Stambollouian should have concentrated on the script so we are not distracted by superfluous effects. But any Pinter is ultimately worth seeing, and this was no exception.
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