Word: playgoers
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Dates: during 1960-1969
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...PARTY and THE BASEMENT. In any Pinter play, the denouement is total uncertainty. The audience knows less in the end than it thought it knew at the beginning. Even though these two one-acters are lesser Pinter, the playgoer is still held in the author's subtle grip. In Tea Party, a successful manufacturer of bathroom hardware is driven into a catatonic state by the interactions of his wife, her brother and his secretary. The Basement presents two men and a girl in a power struggle that leaves the meaning of the outcome to the mind of the beholder...
...think," said Playwright Megan Terry about her Viet Rock, which ran for 62 Manhattan performances in 1966. Obviously, she has not changed her mind. The People vs. Ranchman, which opened off-Broadway last week, is equally devoid of intellectual content. Paradoxically, though, it is likely to leave a mature playgoer doing more thinking than feeling...
...Pinter play, the questions are the answers. The denouement is total uncertainty. The audience knows less at the end than it thought it knew at the beginning. Harold Pinter provokes a devilishly clever sort of participatory theater in which the playgoer is lured into playing detective without any clues...
...meaning will lie in the eye and mind of the beholder. The mirror is the message. The playgoer will see what he wants to see, which, even in these lesser plays, is Harold Pinter's subtlest hold...
...Donald Pleasence is this play's best excuse for being. Smirking, storming, giggling, cringing, screaming, he is wild, weird and wonderful. Pleasence knows how to invade a playgoer's mind like a neurotic blood relative whom one cannot abide and yet cannot disown. He has the hallucinatory reality of a dream from which one cannot awaken. He provides one of those rare performances that theatergoers will never stop talking about...