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I'll show you. It's like this". He flicks off the lights, causing a blackout. The next morning, Spooner, alone, stands from his chair and attempts to leave, but the door is locked.
Briggs soon enters to deliver Spooner food and champagne, rambling on about how he met Foster and ignoring Spooner's desire to know why the door was locked.
Spooner thinks of a quick excuse to leave; however, when Briggs mentions that both Foster and Hirst are poets, Spooner shows vague recognition of this fact.
Hirst himself bursts in and is delighted to see Spooner, whom he oddly mistakes for or pretends is an old friend. He speaks as though the two were Oxbridge classmates in the s, which Spooner finally plays along with.
Hirst and Spooner then bizarrely discuss scandalous romantic encounters they both had with the same women, leading to a series of increasingly questionable reminiscences, until finally Hirst is accused of having had an affair with Spooner's own wife.
All the while, Hirst refers to Briggs by a variety of inconsistent names and then launches into a rant about once-known faces in his photo album.
Spooner says that Foster, who now reappears, should have pursued his dream of being a poet, instead of working for Hirst. Spooner shows great interest in seeing Hirst's photo album, but both Briggs and Foster discourage this.
All four are now drinking champagne, and Foster, for his own pride and dignity's sake, abruptly asserts that he desired to work in this house of his own choice, where he feels privileged to serve as famous a writer as Hirst.
Suddenly, Spooner asks desperately that Hirst consider hiring him as well, verbosely praising his own work ethic and other virtues. After all this, Hirst merely replies "Let's change the subject for the last time", and after a pause worriedly asks "What have I said?
Hirst thinks back to his youth, when he mistakenly thought he saw a drowned body in a lake. Spooner now comments, "No. You are in no man's land.
Which never moves, which never changes, which never grows older, but which remains forever, icy and silent. Goold's production transferred to the Duke of York's Theatre , in the West End, London, opening on 7 October and closing on 3 January , the week after Pinter's death on 24 December It opened on Broadway at the Cort Theatre , in repertory with Waiting for Godot , on 24 November previews began on 31 October It is in no sense a dry, mannerist work but a living, theatrical experience full of rich comedy in which one speech constantly undercuts another.
In reviewing Goold's revival of the play at the Duke of York's Theatre in , Billington points out that "Hirst, a litterateur haunted by dreams and memories, is, as he tells Spooner, 'in the last lap of a race I had long forgotten to run'.
But, while his servants conspire to lead Hirst to oblivion, Spooner attempts a chivalric rescue-act, dragging him towards the light of the living.
The assumption is that his bid fails, as all four characters are finally marooned in a no-man's land 'which remains forever, icy and silent'.
In this play replete with echoes of T. Eliot , Spooner may appear to have failed in his apparent efforts to ingratiate himself with and perhaps even to "rescue" Hirst from "drowning" himself in drink.
As various other critics do, [21] Michael Coveney is still asking: "Yes, but what does it all mean? Kenneth Tynan railed against the 'gratuitous obscurity' of Harold Pinter's poetic play when it was first produced by Peter Hall at the National starring John Gielgud as the supplicant versifier Spooner and Ralph Richardson as his host Hirst, patron and supporter of the arts.
But the play is always gloriously enjoyable as an off-kilter vaudeville of friendship and dependency. Both Billington and Paul Taylor in The Independent give the production 4 out of 5 stars, [2] [3] while Charles Spencer , reviewing the production in The Daily Telegraph , like other critics making inevitable comparisons with the original production, rates it as "equally fine, with Michael Gambon and David Bradley rising magnificently to the benchmark set by their illustrious predecessors," but points out that he too does not feel that he fully understands it: "Even after three decades I cannot claim fully to understand this haunting drama that proves by turns funny, scary, and resonantly poetic, but I have no doubt that it is one of the handful of indisputable modern classics that Pinter has written, and a piece that will haunt and tantalise the memory of all who see it.
Like many classic Pinter plays, "No Man's Land" is about the reaction to an intruder who threatens the status quo ante. The subtlety that gradually emerges in this play, though, is that Spooner, the seedy Prufrockian failed poet, is the alter ego of his host, the moneyed litterateur, Hirst, and that his predatory intrusion also represents an abortive attempt to reconnect Hirst to life and to his creativity and to save him from the bitter stalemate of old age.
Mysterious, bleakly beautiful and very funny, No Man's Land demonstrates that though it may take a little while to latch on to the laws of Pinterland, it is well worth the effort.
What is less clear is the purpose of the play's undercurrent of homosexuality. Most analysts have tended to ignore this subtext but it is there.
With this and lines with double meaning like "You had a cottage? From Wikipedia, the free encyclopedia. Subsequent parenthetical page references throughout are to this ed.
Guardian Media Group. Retrieved 10 October The Independent. Archived from the original on 22 December Retrieved 23 October Friends of the Magdala.
Retrieved 19 March The Shakespeare Code. Retrieved 9 October BBC Four. There is a related video clip of Pinter's official biographer Michael Billington discussing the play as part of the online features relating to Pinter at the BBC 2 mins.
What's on Stage. Archived from the original on 11 October Photos by Jeremy Whelehan". Wisdom Digital Media.
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