London Classic Theatre’s revival of The Birthday Party makes for a funny and chilling evening. The pairing of comedy and unsettling drama is not a natural one, but this Harold Pinter classic, directed by Michael Cabot, pulls it off.
The Birthday Party opens on a well-worn breakfast routine. The married Meg (Cheryl Kennedy) and Petey (Ged McKenna) ease us into their world by highlighting each banal breakfast ritual. The comedy sets the tone for the rest of the piece, and is nestled next to well-executed Pinter tropes. The following maze of insanity, depression and manipulation is peppered with this reassuring opening comedy.
This cast are at their strongest when playing against each other and exploring the internal dynamics of the play. The comfortable companionship of Meg and Petey is absorbing. Gareth Bennet-Ryan, playing Stanley, successfully distorts all of his interactions with other characters into a snapshot of his own deteriorating mental state. The titular birthday party is an explosion of power struggles, fuelled by whiskey and taking unsavoury characteristics to disturbing proportions. On-stage rapport is especially present when involving Kennedy’s expertly delivered Meg.
This production is on tour across the UK and Ireland. Designer Bek Palmer has instilled a distinct quality to the props, and the crunchy mess of breakfast foods is a particularly effective choice. It’s nearly impossible to tailor the perfect staging for each theatre’s individual needs on a tour, however, and a raised set on the Norwich Playhouse’s raised stage does feel uncomfortable.
When The Birthday Party originally premiered it was met with a slew of negativity from critics, primarily for the lack of resolution in the plot. Luckily this did not stop the play going on to being recognised as a success, as there is ample food for thought within the text’s pages. What can be trying is that the mirror Pinter is holding up to reality is perhaps lacking in necessary empathy when faced with today’s audience. There are some rather dated stereotypes, from the one-dimensional Lu Lu to the brains and brawn combination of Goldberg and McCann, that although recognisable are difficult to connect with. Without this empathetic anchor, some of the mania of The Birthday Party can be frustrating to watch. Nevertheless, there is so much believability and mystery in Stanley’s demise that the play still strikes a solid chord.
It is great to see a revival of a Pinter play, and London Classic Theatre tick the right boxes in their version. They offer a high quality piece of theatre with a loyalty to the original script, making it a wonderful opportunity to see Pinter’s work come to life.
The Birthday Party played at the Norwich Playhouse from 23-24 February, and is touring the UK and Ireland until 18 June. For more information and tickets, see the London Classic Theatre website.