Moonlight
From: Thursday, 7th April 2011
To: Saturday, 28 May 2011
Our Review: 
Your Reviews:
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Synopsis
Andy lies dying in his bed. As his wife, Bel, tries desperately to bring his estranged sons to his side his thoughts turn to his youth, loves, lust and fears, whilst the haunting presence of the things they have all lost swirl in the dark lonely spaces of this suburban household. A tragic comedy of family dysfunction, Moonlight is one of Harold Pinter's most human and poignant plays suffused with universal emotions: the cold dread of death; the pain of separation from loved ones; the longing for reunion; and the continuity of the family.
Our Review:
Michael Coveney - 13 April 2011
Harold Pinter’s 75-minute play Moonlight is no masterpiece but was an important come-back for him in 1993 and confronts the bedbound Andy’s incomprehension and fear of death with a mordant and macabre frankness and top-hole scatological humour.
In a stylish revival by Bijan Sheibani, the somewhat static and disjointed idyll of memory and recrimination is coated in fluent staging, the darkness edged with strips of light in Bunny Christie’s design (lit by Jon Clark), an illuminated door suggesting a house of dreams.
David Bradley’s Andy mutters and barks his way ferociously and funnily through the last hours of his life, a civil servant who kept his foul language out of the office and where it properly belonged – in the home.
His wife, Bel (Deborah Findlay), sits quietly and patiently by the bed, sewing what may be his winding sheet, while his dead daughter Bridget (Lisa Diveney) wanders through a ...
Latest User Review
David Baxter - 14 May 2011:
Somewhere inside Moonlight is a fascinating drama about the relationships of a dying husband and his family. David Bradley and Deborah Findlay are both superb as a couple who now communicate with wounding insults with very occasional moments of tenderness. Helpfully the programme identifies their daughter as a ghost because there is no overt reference to her death other than Findlay's pained reaction at her mention. But why does Bradley ask to see his grandchildren when it appears that Bridget dies as a teenager? Pinter of course does not provide an answer to this question, but far worse is the absurdist drivel spoken by the two sons who act as if they are strangers. Pinter's apologists will claim it is deeply meaningful - it's not, it's gibberish and displays Pinter's disregard for his audience who are never allowed to know what his intentions were. Of course this is true of so many of Pinter's plays and I suspect he will now come in for a more critical reappraisal which could confine much of his work to obscurity (if they're not obscure enough already). The cast do their best and at least there is the welcome distraction whenever Lisa Diveney appears in the briefest of shorts....
Creative
Harold Pinter (Author)
Donmar Warehouse (Producer)
Bijan Sheibani (Director)
Bunny Christie (Design)
Jon Clark (Lighting)
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