Kaddish for Pinter

With a title as impenetrable as it is high-brow, this show doesn’t exactly welcome the casual theatre-goer with open arms. For those of us to whom it isn’t immediately obvious, Kaddish is an Ancient Jewish prayer sequence, specifically one recited in mourning for the dead. Unfortunately, familiar though I am with Pinter’s work, this knowledge didn’t really help me in the task of decoding David Ian Neville’s homage to his memory. The style of the script has all the hallmarks of Pinter’s influence, though, with sparse dialogue between characters deaf to each others’ profound reflections, and a masterful use of language to create tangible tension from the outset. Despite remaining unashamedly obtuse throughout, the play’s engaging writing and some wonderful performances from a seasoned cast combine to make it far from dull.The action opens with an old man being solicited for information about a criminal named Steinberg by a younger man who appears to be a journalist. We are aware that the man being interrogated is unable to leave, and apart from the entrance into the equation of a woman who clearly has the upper hand over both men, little more factual information comes to light at any point during the show. However, the ideas of personal freedom and the tension between the power of the state and the rights of the individual are tackled with subtlety in both the writing and the performance. Complicated relationships between the characters are handled expertly by the actors, producing an atmosphere of disturbing tension and moments of shock which are rarely seen on the stage.Directed by the playwright himself, the show’s use of carefully choreographed movement to demonstrate control of the situation switching organically between characters is supremely effective. But the otherwise-flawless direction is let down by the two isolated moments of audience participation, which, in the context of such a fraught situation, feel awkward and bizarre, even if they do serve to forcibly involve the audience in the conspiracy.Though undoubtedly a difficult work, this is a highly intelligent, gripping piece of theatre performed with confidence by an excellent cast, and is sure to keep you on your toes.

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The Blurb

Barker is waiting. They’ll come. They need what he knows. Tense, humorous, psychological drama by award-winning writer David Ian Neville - Fringe First: Exile - ‘writing of the highest order’ (Herald), ‘very moving’ (Observer), ‘magnificent’ (Scotsman). Professional cast.

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