The Ustinov is a perfect space for these one-act Pinter plays. The atmosphere is electric as the claustrophobic worlds of lovers and game players collide.
David Morrissey as Richard in The Lover | Photo © Nobby Clark
Both pieces question the role of women as lovers or whores; the power shifts constantly whilst the word play is intricate and dazzling.
The Lover is less complicated than The Collection as the plot twist allows a clearer ending. A married upper class couple role play wife and lover in the afternoon whilst evenings are reserved for small talk around work and business meetings.
The excellent casting of David Morrissey as Richard and Claudie Blakley as Sarah allows the sexual frisson of the lovers meeting whilst switching to the social norms in the evening unfurl.
The challenges to the power changes between husband and wife swing constantly but suddenly the rules are changed and the characters spiral to regain control and the upper hand.
The Collection is again looking at morality, role playing and sharp exchanges. On the surface these issues really do not seem terribly important but Pinter is bringing into focus the fine line that defines the difference between fantasy and lies.
The relationships in the piece rotate around two London couples. Bill (Elliot Barnes-Worrall) is possibly the younger lover of Harry (Morrissey) and he might have spent the night with Stella (Blakley) who is the wife of James (Mathew Horne).
Again the performances are excellent whilst the script is tricky, depicting Stella again as the “whore” but as the friendship appears to develop between Bill and James it is the fear of the men revealed through the clipped dialogue and passive aggressive taunts that is very much under the microscope.
The Ustinov once again proves that it is one of the most exciting production houses and any Pinter fans should take a look at this rarely performed works.
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Reviewer: Petra Schofield
