Living the thigh life at the new Harold Pinter Theatre

Ian Rickson's "Old Times" reviewed.

There’s a moment during Ian Rickson’s new production of Pinter’s Old Times when you can’t stop looking at Kristin Scott Thomas’s feet. Her heel demands your gaze as it hesitates in mid air, motionless, before she flicks her leg to stand astride Rufus Sewell’s thigh. He looks up at her from his seat on the edge of a bed, and his formerly jaunty demeanour disappears in a sizzle of chemistry and possibility. The moment hangs, almost too long, and then she’s gone, thrusting herself backwards across the stage in a flurry of guilt and remembrance.

This little interplay is just one of the occasions when you realise that Old Times isn’t simply the play’s title – it’s an omen. Set in the rural home of a married couple, Kate and Deeley, it dramatises the visit of an old friend, Anna, with whom Kate lived as a girl in London 20 years earlier. Breezy reminiscences about visits to galleries and evenings huddled before a gas fire quickly give way to darker, more difficult memories as Deeley and Anna recall parallel yet contradictory versions of the past and, indeed, of Kate. With very few lines of her own, Kate exists almost entirely as a blank canvas for the other two to paint on.

Kristin Scott Thomas as Anna, Lia Williams as Kate
and Rufus Sewell as Deeley
. Photograph: Simon Annand

Much has been made in the publicity surrounding this production of how Scott Thomas and Lia Williams are alternating in the roles of Anna and Kate (a casting decision that gives weight to the idea that the two characters are not separate people but two possible outcomes of the same woman). The night I saw it, Scott Thomas gave a bleak, compelling performance as Anna, while Williams was suitably silent and brooding as Kate. Sewell interspersed Deeley’s subdued rage with the odd comedic note – an excellent foil to Scott Thomas’s cynical sighs. Because most people in the audience are unlikely to see the play more than once, the possibilities provided by the reversal are surely of little interest. A sceptic might say it’s nothing more than a box-office wheeze to pack out a newly rechristened theatre.

This production, with its autumnal, muted set and distinguished cast, is the first Pinter performed here since the West End’s Comedy Theatre was renamed in the great man’s honour. And, as befits the first opportunity to see a Harold Pinter play in the Harold Pinter Theatre, Old Times is laden with the playwright’s trademarks: scattergun dialogue interjected with pauses and silences; menacing undercurrents of manipulation; portentous lines that remain utterly unexplained (the repeated “I remember you dead” being a memorable instance in this play); and a niggling feeling that underlying it all is just abject, aimless misery. You leave the theatre feeling confused, dejected and more than a little unsatisfied – for the Pinter fan, it has everything.

 

Harold Pinter in 1979. Photograph: Getty Images

Caroline Crampton is assistant editor of the New Statesman. She writes a weekly podcast column.

This article first appeared in the 11 February 2013 issue of the New Statesman, Assange Alone

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How power shifted dramatically in this week’s Game of Thrones

The best-laid plans of Mothers and men often go awry.

Last week’s Game of Thrones was absolutely full of maps. It had more maps than a Paper Towns/Moonrise Kingdom crossover. More maps than an Ordnance Survey walking tour of a cartographer’s convention. More maps than your average week on CityMetric.

So imagine the cheers of delight when this week’s episode, “Stormborn”, opened with – yes, a map! Enter Daenerys, casting her eyes over her carved table map (Ikea’s Västeross range, I believe), deciding whether to take King’s Landing and the iron throne from Cersei or a different path. After some sassy debates with Varys over loyalty, more members of her court enter to point angrily at different grooves in the table as Dany and Tyrion move their minature armies around the board.

In fact, this whole episode had a sense of model parts slotting pleasingly into place. Melisandre finally moved down the board from Winterfell to Dragonstone to initiate the series’ most inevitable meeting, between The King of the North and the Mother of Dragons. Jon is hot on her heels. Arya crossed paths with old friends Hot Pie and Nymeria, and the right word spoken at the right time saw her readjust her course to at last head home to the North. Tyrion seamlessly anticipated a move from Cersei and changed Dany’s tack accordingly. There was less exposition than last week, but the episode was starting to feel like an elegant opening to a long game of chess.

All this made the episode’s action-filled denouement all the more shocking. As Yara, Theon and Ellaria dutifully took their place in Dany’s carefully mapped out plans, they were ambushed by their mad uncle Euron (a character increasingly resembling Blackbeard-as-played-by-Jared-Leto). We should have known: just minutes before, Yara and Ellaria started to get it on, and as TV law dictates, things can never end well for lesbians. As the Sand Snakes were mown down one by one, Euron captured Yara and dared poor Theon to try to save her. As Theon stared at Yara’s desperate face and tried to build up the courage to save her, we saw the old ghost of Reek quiver across his face, and he threw himself overboard. It’s an interesting decision from a show that has recently so enjoyed showing its most abused characters (particularly women) delight in showy, violent acts of revenge. Theon reminds us that the sad reality of trauma is that it can make people behave in ways that are not brave, or redemptive, or even kind.

So Euron’s surprise attack on the rest of the Greyjoy fleet essentially knocked all the pieces off the board, to remind us that the best-laid plans of Mothers and men often go awry. Even when you’ve laid them on a map.

But now for the real question. Who WAS the baddest bitch of this week’s Game of Thrones?

Bad bitch points are awarded as follows:

  • Varys delivering an extremely sassy speech about serving the people. +19.
  • Missandei correcting Dany’s High Valerian was Extremely Bold, and I, for one, applaud her. +7.
  • The prophecy that hinges on a gender-based misinterpretation of the word “man” or “prince” has been old since Macbeth, but we will give Dany, like, two points for her “I am not a prince” chat purely out of feminist obligation. +2.
  • Cersei having to resort to racist rhetoric to try and persuade her own soldiers to fight for her. This is a weak look, Cersei. -13.
  • Samwell just casually chatting back to his Maester on ancient medicine even though he’s been there for like, a week, and has read a total of one (1) book on greyscale. +5. He seems pretty wrong, but we’re giving points for sheer audacity.
  • Cersei thinking she can destroy Dany’s dragon army with one (1) big crossbow. -15. Harold, they’re dragons.
  • “I’ve known a great many clever men. I’ve outlived them all. You know why? I ignored them.” Olenna is the queen of my LIFE. +71 for this one (1) comment.
  • Grey Worm taking a risk and being (literally) naked around someone he loves. +33. He’s cool with rabid dogs, dizzying heights and tumultuous oceans, but clearly this was really scary for him. It’s important and good to be vulnerable!! All the pats on the back for Grey Worm. He really did that.
  • Sam just fully going for it and chopping off all of Jorah’s skin (even though he literally… just read a book that said dragonglass can cure greyscale??). +14. What is this bold motherfucker doing.
  • Jorah letting him. +11.
  • “You’ve been making pies?” “One or two.” Blatant fan service from psycho killer Arya, but I fully loved it. +25.
  • Jon making Sansa temporary Queen in the North. +7.
  • Sansa – queen of my heart and now Queen in the North!!! +17.
  • Jon choking Littlefinger for perving over Sansa. +19. This would just be weird and patriarchal, but Littlefinger is an unholy cunt and Sansa has been horrifically abused by 60 per cent of the men who have ever touched her.
  • Nymeria staring down the woman who once possessed her in a delicious reversal of fortune. +13. Yes, she’s a wolf but she did not consent to being owned by a strangely aggressive child.
  • Euron had a big win. So, regrettably, +10.

​That means this week’s bad bitch is Olenna Tyrell, because who even comes close? This week’s loser is Cersei. But, as always, with the caveat that when Cersei is really losing – she strikes hard. Plus, Qyburn’s comment about the dragon skeletons under King’s Landing, “Curious that King Robert did not have them destroyed”, coupled with his previous penchant for re-animated dead bodies, makes me nervous, and worry that – in light of Cersei’s lack of heir – we’re moving towards a Cersei-Qyburn-White Walkers alliance. So do watch out.

Anna Leszkiewicz is a pop culture writer at the New Statesman.