Review – Pinter Double Header (Victoria Station and One for the Road) – The Print Room (moving to Young Vic)

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I was VERY excited when I saw the Pinter double header (at The Young Vic) was actually dipping its toe in the London theater scene at The Print Room on Notting Hill before its later October run. This was exciting to me, first, because I was having a hard time fitting the Young Vic shows into my October schedule, and, second, because the Print Room’s location is five minutes’ walk from the Notting Hill Taqueria. (And if you go, be alerted that all tacos there are half priced there before 7 PM. This was a very bright spot in my week after a few too many nights of cold sandwiches.) Pinter in Notting Hill, bring it!

There was a bit of a spooky atmosphere going to the theater, with a candle lit path guiding us to the garden. The set up in the theater itself is an open space with chairs placed around all edges, in the center of which was a man sitting at a table with his head down (I managed to not even really notice him as I was looking for my seat, he was so still). Suddenly the lights flickered down and a bearded man (Keith Dumphy) appeared at a table kitty-corner to the first. The two begin to have a conversation over a sort of walkie-talkie system (bearded man amplified with a convincing public address system metallicness). The controller asks the other, older man some questions, then begins to berate him. The hostility and frustration of the controller is obvious; but the mystery, to me, is why does the older man (Kevin Doyle) not know where he is? How could he possibly be living in London and not know where Victoria Station is? What has gone wrong here? In delicious Pinterian fashion, we are never given an answer to this, nor to the disappearance of (seemingly) everyone else from these two people’s world. Was it nuclear holocaust, the rapture, or a zombie attack? I was left with plenty of mysteries to solve and absolutely no answers, with my hair just a bit on edge from the barely restrained violence. Dee-lish!

Next up (after a startling transition to the horrible florescent overheads typical of so many offices) was a complete transition as Doyle now became Nicolas, a sadist with a taste for whiskey (“One for the Road”), who for reasons unknown has Victor (Dunphy) under his control. Why is Victor there? What world or country is this where patriotism and religion have become so important? Is it America in ten years? The raised hand feeling, the implied violence behind so many Pinters, has rarely felt so very intense as it did in this play. No one was actually struck, but off the stage people’s bodies and lives were being destroyed. Doyle wasn’t quite note perfect – I think not enough coldness in his heart – but the show was intense and nearly unbearable. My friend thanked me for inviting him after it was all over, and, truly, it was a really great night of theater – ninety minutes in which I fully forgot everything that existed outside of the tiny room I was in.

(This review is for a performance that took place on Tuesday, September 20th, 2011. It continues at the Print Room until October 1st then moves to the Young Vic for an October 6-15th run.)

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One Response to “Review – Pinter Double Header (Victoria Station and One for the Road) – The Print Room (moving to Young Vic)”

  1. Review – New World Order – Hydrocracker at Shoreditch Town Hall via Barbican « Life in the Cheap Seats – Webcowgirl’s London theatre reviews Says:

    […] in too great depth about what happened. We see the same actors several times: the wife in “One for the Road” comes back again and again as “the wife,” attempting to visit her spouse or to […]

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