Theatre review: The Homecoming, Trafalger Studios

Harold Pinter’s dark 1965 play The Homecoming gets the Jamie Lloyd treatment

John-Simm-in-The-Homecoming.-Photography-by-Marc-Brenner1.jpg1-700x455

John Simm in Trafalger Studio’s The Homecoming

Pinter’s mid 60s play, The Homecoming, isn’t an easy watch, and the Trafalgar Studios’s production directed by Jamie Lloyd, tightens the tension screws even further to produce a play that’s claustrophobic, dark and, obviously, funny.

The Homecoming is about an ill-fated family reunion in north London, rife with ghosts, bitterness and violence. Teddy, the eldest of three sons – is the family’s ‘success’ story, visiting for a few days on a break from his university job in the States with his beautiful wife, Ruth (Gemma Chan). Of course, the perfect life Teddy hopes to dazzle his suburban family with isn’t quite what it seems, and his smokescreen pretty much turns to dust before he’s even unpacked his toothbrush.

His father, Max, is an old school Londoner, played with real malice by Ron Cook. He over sees the family like a cut-prize gangster, all simmering anger and seething violence. Keith Allen plays his brother Sam, who lives with them, as an ‘obvious’ homosexual. Pinter’s portrait of Sam is far more subtle – not least because in 1965 homosexuality was still illegal – but the part is given an obvious otherness by Allen and he largely pulls it off without straying into limp-wristed territory .

Lloyd has once again ensembled a cracking cast. Of the three brothers – Teddy (played by Gary Kemp, has a reviewer described his performance as ‘gold’, yet?), John Macmillan as the youngest child, Joey, it’s John Simm’s Lenny who dominates. Simm is in fine menacing form, prowling the stage like a wounded bouncer. Simm is a very still actor, in fact this production generally was noticeable for its lack of hysteria – with dialogue this punchy no one should be hand-acting. The movement that Lloyd does incorporate is restrained, the actors moving around the stage like synchronised robots or geriatric former-dancers.

The Homecoming is a brutal play, it’s menacing and uncomfortable and Soutra Gilmour’s staging adds to the intensity. Set within a framed cube, the actors are caught in aspic, accentuating the claustrophobia of the play – they are like figures in a particularly vicious chess game – while the floor mirroring a blood-smeared butcher’s shop.

The Homecoming is also about a very particular point in history, a time when the Second World War was still casting its long shadow over the generation it ensnared, when kids still played on bomb sites, when people’s sexuality was the business of the law, when working class men were expected to be macho and women compliant. Historically we look back at 1965 as a time when London was swinging, but in some parts of town the only swinging some people were doing, were punches. Counter culture had yet to break through, despite the rumblings of change, not least due to playwrights like Pinter.

I found The Homecoming a difficult play to like, it’s just so nasty and the whole sordid ending with Ruth had me actually squirming in my seat – although that’s testimony to Chan’s cool acting that had me so invested in this difficult character. Does she have a voice, can she use her sexuality as a means to end? I’m not so sure, she seems like such a victim. But as ever, Pinter allows plenty of space for us to fill with our own interpretations, so let’s hope in someone’s else’s head she’s a winner, just as Lloyd and Trafalgar Studios are once again.

The Homecoming | Trafalgar Studios | Until 13 February 2016

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