The Homecoming, as with much of Harold Pinter’s work, is a timeless play, charged with machismo, pride and tension. Matthew Dunster’s production at the Young Vic delivers a glossy, stylised Pinter that, in spite of the evident talent on stage, does not quite hit all the notes required for this iconic and complex text.
A glossy, stylised Pinter
A strong cast such as this inevitably raises audience expectations prior to the show, and the acting prowess on stage is evident from the offset. At times, however, the respective performances in this production feel distinctly individual, even isolated from one another. It seems as if they each responded differently to the material—some emphasising the absurdism, others favouring naturalism. For example, Lisa Diveney’s Ruth is eerie: vacant, mysterious and slightly unhinged a la absurdist style. This could be a strong choice in another production, but felt disjointed in conjunction with the other actors’ styles. Furthermore, a significant amount of the shouting on stage lacked intention and motive, and the production would benefit from a greater presence of the characters’ inner lives.
The production places a noir filter over the play that, ironically, waters down the impact of the narrative. The chic styling, clean lines and stark staging are clever choices but they, in turn, demand even meatier performances than is already required. A particularly distracting instance of this is the use of dramatic spotlights and suspenseful music that attempt to articulate chosen moments of climax. This is a confusing choice for a playtext where characters are inclined towards heightened outbursts (in-keeping with the style); it feels forced and thus deflects from the characters’ intentions in that given moment.
There are elements of the show that work well. Kev McCurdy’s movement direction, for example, creates consistently pleasing clarity. There is effective contrast between dynamic movement and stillness on stage, guiding our eyes and making for a very easy watch. In addition, the comic timing is excellent and, despite an awkward and clunky collapse in the closing scene, Nicholas Tennant’s Sam is particularly eye-catching and serves as an incredibly strong supporting character.
In sum, this production leaves one feeling somewhat bemused. Some of Dunster’s direction is confusing, which is especially dangerous when tackling Pinter. Overall, the show needs more attack, more ‘oomph’, or at least, a stronger sense of cohesion and build.
