Reviews

Julian Sands in a Celebration of Harold Pinter – (Manchester)

Julian Sands seeks to celebrate the life and works of Harold Pinter by proving that he should be revered as a poet just as much as a dramatist. This is not easy: Pinter’s plays, as well as being magnificent, shaped the modern theatrical landscape. Abstract and political poems are more easily appreciated (or perhaps ‘understood’ is a better word) after study rather than when heard in a theatre. Awareness that Pinter’s love poems were directed at a single subject – his wife Antonia Fraser- limits the universality of their appeal.
 
If the theatrical setting imposes limitations on the material there is nothing wrong with the way that they are presented. Although Sands does not hesitate, when appropriate, to approximate Pinter’s ‘giant voice’ in the main his performance is one of restrained passion. Director John Malkovich concentrates on utilising Sand’s voice to its fullest effect. There are no in-jokes, such as menacing pauses, and gestures are kept to a minimum. This ensures that the odd occasion when Sands cuts loose (demonstrating Pinter’s explanation of the difference between ‘a beat, a pause and a silence’) it has great humorous impact.
 
The second half of the show widens the material to include extracts from Pinter’s prose. Sands emphasises that, despite his daunting reputation, Pinter had a love of words, cricket and ultimately, life. It is a shame that we are not given further examples of this enthusiasm to enable a more rounded picture of the subject to be formed.
 
Sands is a self-deprecating host constantly reminding us that it is the poems, rather than him, that merit applause. Even if he does not succeed in his goal it is a worthwhile effort to show another side of the Nobel Laureate. But I still prefer the plays.
 
– Dave Cunningham