THEATRE REVIEWS

If you have no previous experience of Harold Pinter, you will not know what to expect from this production. When I asked around the general consensus was that his plays are "an acquired taste" and perhaps "not the easiest" for theatrical beginners to tackle, so you may approach the evening with some trepidation.

However, Simon Reade's production provides a wonderful introduction to Pinter's work, especially as it opens with a set of his sketches. These varied pieces all engage the audience's attention immediately and act as an appetiser for the main performance. From the outset, it quickly becomes apparent that the power of Pinter's work lies not in what is said, but in the gaps and silences either side. The impeccable timing of both actors is therefore very important and the cast of two do not disappoint. Ferdy Roberts, as Gus, is wonderfully versatile and slips between characters with perfect ease. Even in the shortest of sketches, it is clear that more is left unsaid than is made explicit and this contributes to the taut atmosphere that builds throughout. Whilst I was at times unsure of the underlying meaning of these first sketches, it did not make them any less engaging.

Following the interval, the main action kicks in. There is a minimalist set, perfectly lit with clinically bright lighting that reveals every corner. There is a long build up of silence before the dialogue begins, again coming back to the importance of the silences in these performances. When the actors do begin speaking, we find that the pair are hired killers, waiting in an abandoned café for instructions from their boss, the ever-absent Wilson.

The wait continues and the tension builds, intensified by the fact that the dishevelled Gus asks constant questions and his partner Ben, played by Jonathan Broadbent, becomes increasingly frustrated with him. When the dumb waiter roars into life with food orders, the confusion and tension redouble. The language emphasises the surrealism of the situation, as one character repeats back or mirrors what the other one says, sometimes to humorous effect, sometimes heightening the tension. The atmosphere becomes increasingly menacing before reaching a startling climax.

Reade's production seemed popular with old and new Pinter fans and was skilfully delivered. The small set and auditorium of the studio theatre meant that we were only a few metres away from the stage which helped us to be involved in the action, to create a closeness that might not be there in a larger space. Overall, a skilful performance and one that I would recommend. © KA

“The Dumb Waiter” is in Bristol on the 12th April until the 29th of April, 2006.