Synopsis

Through the story of the two brothers and the tramp, The Caretaker touches on the subjects of mental illness and the plight of the indigent. Pinter uses elements of both comedy and tragedy to create a play that elicits complex reactions in the audience. The complexity of the play, Pinter's masterful use of dialogue, and the depth and perception shown in Pinter's themes all contribute to The Caretaker's consideration as a modern masterpiece.

Feedback:

"A night of pure professionalism. Accomplished performances in a production with no superfluous gimmicks."
Varsity

"Deft direction, magnificent cast. Every aspect of this fine production deserves praise."
Local Secrets

Director's notes

I first saw THE CARETAKER as an A Level student and was captivated by it. Such a raw and real piece of theatre that threw up more questions than gave up answers was thrilling to me then, and is now.

It is the enigmatic quality in Pinter's writing which holds the key to his lasting appeal. We like to unravel clues, to be made to think.

But I've often wondered whether, while we're busy doing all this thinking, Pinter is laughing himself silly. How can we ever figure out all the answers when he doesn't know them himself?

Because Pinter has never pretended to know exactly why his people say or do things - only how they say and do them. He gives us characters, predicament, time and place and records their words and actions.

So, I figured, we need only stick to his famously minute stage directions and our work would be largely done. The text told us when (pause or else don't pause etc.) and to some extent how ('quietly' or 'with feeling' etc.) to deliver the text. It was our job to figure out why.

Of course this is easier than it sounds, particularly for instinctive actors rightly accustomed to this process in reverse - to exercising their own creative choices as to a the pace and manner of delivery.

Often it was obvious why certain lines should march to a particular drum, sometimes it took a little longer to find the motive to fit the rhythm. And there were moments we were stumped - we just did it until something in the syncopation spoke to us - which it invariably did. This I think was the greatest revelation - that the story could be found in the sounds - and absence - of speech as much as in its content.

There's a danger of being overly reverential towards Pinter's dialogue at the expense of spontaneity, even common sense. As an actor even Pinter was known to challenge his own stage directions! But they are there not to obscure, only to clarify - which they do, if you will only let them.

I remain convinced Pinter does more than write - he composes. So it is ultimately a question of performing his score as faithfully as possible.

I thank my truly brilliant cast for trusting in me.

Sally Woodcock - Director

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