The last Pinter play I saw was the star-studded Old Times as it neared the end of its critically-acclaimed run at the theatre named after him earlier this year. It was classic Pinter, all pregnant pauses, non-sequiturs, ambiguous relationships and more unanswered questions than the average episode of The Weakest Link.
In contrast, The Hothouse, the second of Jamie Lloyd’s productions for the Trafalgar Studios following his hugely successful, James McAvoy-starring Macbeth, is turbo-charged Pinter. Eyeliner-runningly funny, sharply satirical, whippet sharp and cleverly bonkers, it’s like A Clockwork Orange meets Noises Offwith a dose of Orwell all brought together under Pinter’s young eye (this is An Early Pinter) and served up with a heavy dose of mega-watt acting. It’s at once an allegory of totalitarianism and a belly-aching farce. And every bit as brilliant as that sounds.
The play is set on Christmas Day…
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