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חשד לרצח בבנימין: אישה נורתה למוות, בעלה נעצר
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חנק למוות ודיווח למשטרה: תושב ירוחם הואשם ברצח בת זוגו
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Shane Zaza and Alec Newman in The Dumb Waiter at the Hampstead Theatre
Credit: Alastair Muir
You can almost smell the damp rising off the stained brown walls in this 60th-anniversary production of Harold Pinter’s early absurdist thriller, rescheduled (for the familiar reasons) from March. The Dumb Waiter is one of his more accessible shorts, a mix of Beckett and Martin McDonagh in which two hitmen in the basement of an unnamed building wait for instructions for their next job, like Waiting for Godot with guns.
Danny Dyer and Martin Freeman most recently – and memorably – performed it during Jamie Lloyd’s 2019 Pinter at the Pinter season in the West End. The initially unnerving thing about Alice Hamilton’s horribly atmospheric production, however, is how little Alec Newman and Shane Zaza look like hitman. Newman’s Ben reclines on the bed reading the paper, the picture of Sunday afternoon leisure. Zaza’s younger, more wholesome-looking Gus keeps tying and retying his
© Helen Maybanks
Harold Pinter s one-act play, which typifies many of the themes that would go on to define his work, has a rich history at the Hampstead. Its UK premiere in 1960 was an early and crucial success for the venue - and the playwright - under founding artistic director James Roose-Evans.
Sixty years on it takes on renewed significance as it reopens the venue from its pandemic-induced hibernation. Originally scheduled to play back in March, it has been re-rehearsed, recast, and runs in an auditorium that features photos of Hampstead s previous productions draped over the 50 percent of unused seats. A two-hander running under an hour, it also happens to be pretty much the ideal play for these socially distanced times. Though even Pinter couldn t have foreseen that.
Last modified on Wed 9 Dec 2020 19.04 EST
There is an âamusing storyâ about the first performance of The Dumb Waiter at the Hampstead Theatre Club in 1960, according to its director, James Roose-Evans. The run was packed out, he remembers, despite the disaster of Harold Pinterâs second play, The Birthday Party, which was cancelled after a week. But though this third play was a sensation, Roose-Evans says that âthere were all these very smart people arguing about what it was about â what the play meantâ.
We know better now not to expect clearcut motivations or meanings from this tight two-hander about hitmen waiting for their next job, and its 60th anniversary production at the same (renamed) venue seems to accentuate its deliberate enigmas.
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