One of the occasional dubious pleasures
of being a critic is that of having one’s cake and eating it.
Arguably, one instance of this is the number of critics who decried Jez
Butterworth’s
The Winterling
for its allegedly comprehensive debt to Harold Pinter, but who did so
having attended previews of the show because on its opening night they
(like me, hence this abbreviated column) were in Turin for the events
surrounding the presentation of the Europe Theatre Prize to… Harold
Pinter. Most conspicuously, Michael Billington wrote that
Pinter’s “distinctive voice is currently reverberating through British
drama in ways that begin to worry me”, though it didn’t seem to worry
him enough to raise the issue in the Pinter symposia he chaired or the
interview he conducted with the great man.
Readiness
Clearly, this isn’t a black-and-white issue, and what reviewers are
expressing reservations about is not the mere fact of Pinterian
influence, but its supposed extent. Even so, how can we on the
one hand praise Pinter for having fundamentally remade the language and
landscape of drama and on the other condemn Butterworth for having
taken that on board? (For the acknowledged debt has never been in
doubt; on the contrary, Pinter himself felt enough of a connection with
Butterworth’s writing to take a part in the film version of his first
play
Mojo.) Indeed, is
the extent of influence even as great as we perceive it?
Synchronicities, strange connections, currents and echoes – whether of
literary influence or, say, the occurrence of a lucky number –
are to a considerable extent dependent on our readiness to spot them,
whether they “are” “really” there or not. It’s easy to parody the
more Pinterian moments in
The
Winterling (as, I admit, I was doing after the performance I saw
belatedly, with another critic who shall remain nameless, when director
Ian Rickson came upon us… oops); once attuned to that frequency, it
takes more effort to hear the more characteristically Butterworthian
tones familiar from
Mojo.
What I find worrying is the word that, as a result of the reviews
reprinted herein, Butterworth is considering giving up playwriting,
which only a couple of weeks ago he was speaking of as the most
satisfying avenue of his writing career. It’s no skin off his
nose financially – he apparently earns a comfortable living as a movie
script-doctor – but the rest of us could end up much the poorer if he
does leave theatre. That’s no reason to go easy on him, or on
anyone; but it is, after all, our job to look further into these
works. As it is, the only review printed here that doesn’t use
the P-word is Mark Shenton’s
Sunday
Express paragraph, and that’s only 36 words long.
Guilt
Similarly with Mark Ravenhill’s The Cut, criticised on the one hand for
an allegedly excessive debt to Pinter’s more recent political works,
and on the other for lacking the specificity of those works’
imagery. People seem to find the metaphor of the cut itself
unsatisfyingly vague. Well, who says it is a metaphor?
Surely it is a more general symbol or emblem. Charles Spencer
comes close, I think, when he says he thinks it symbolises “almost
anything liberal, western audiences might feel troubled about”.
But I think there’s more to it than that. The character John is
eager to be cut, evidently seeing it as a kind of absolution,
validation, even liberation; the uncut, led by Ian McKellen’s torturer
(who, especially on Paul Wills’ authoritarian-majestic set, reminded me
inescapably of Michael Palin’s half-scrupulous torturer in Terry
Gilliam’s film
Brazil), are
racked by various worries and guilts. This suggests to me that
the cut is an emblem of such guilt, such conscience itself, rather than
any nexus of issues which might excite such feelings. Those who
are cut, conform; those who do the cutting (in the widest sense – those
of their social and political class) define conformity. The cut
is explicitly a mechanism of social pacification employed in parallel
with programmes of imprisonment and “re-education” in
universities. The play seems to me to portray the world as
bleakly divided between those who collude in its various atrocities
through wilful ignorance or because of a reassuring sense of belonging,
and those who administer the various programmes in full knowledge (or
reasonable suspicion) of what they are doing. In this reading, it
is about the luxury, and in many ways also the sterility, of guilt or
compassion. It’s a kind of consideration that is in scant
evidence among the reviews; have we, then, already been “re-educated”
at our own various universities into not seeing ourselves too readily
in such dramatic mirrors, or have we already been cut without our even
noticing it?
And
finally…
Ian S, to the reviewer sitting in front of him at
Pete & Dud: Come Again (in a
reference to one of their most famously filthy Derek & Clive
routines): “’Ere, what’s the worst job you ever ’ad?”
The other reviewer (name withheld): “Sitting through that Jeremy Irons
thing [
Embers] last week.”
Written for Theatre
Record.