Next up in ACT’s Pinterfest is “No Man’s Land,” the 1974-75 “dramedy” that follows a rich, aging, and alcoholic literateur who invites a fellow aging poet named “Spooner” (played by Randy Moore) that he had met earlier in the evening at a bar back to his place for more drinks.
The two reminisce about times past, the literary world, growing older, and other fuzzy memories as they sip on a variety of liquors from vodka to scotch “as they are.” Eventually, the wealthy literateur, “Hirst” (played by Frank Corrado), drinks beyond the tipping point and makes his exit for the evening, and which is followed by the entrance of the two other characters of this most baffling of plays, “Briggs” and “Foster” (played by Peter Crook and Benjamin Harris).
The two seem threatened by Spooner’s presence and seek to keep him away from Hirst. The first act ends with Foster asking Spooner if he knows what it is like to be in a room in which the lights suddenly go off. Then he proceeds to do so; end of Act One.
Act Two begins and things do not get much clearer: more drinking, more talking, more drinking, more reminiscing about the questionable past, more drinking, more unexplained menacing from the younger characters, more drinking, more confusion, more drinking. The End.
So, I’m just not sure what to make of this curious play by Pinter. It definitely offers some very beautifully written monologues and dialogues that the actors deliver with much finesse. It also definitely explores some weighty themes, including: memory, aging, isolation, addiction, and uncertainty.
But ultimately, I do not think it is a very “theatrical” play by nature, and it is certainly not an “audience friendly” work as it offers very little in terms of a plot, cohesive structure, or action.
Instead, I would say that it is a play for actors, who delight, no doubt, in the play’s rich language and punctuated pauses for which Pinter is so well known. But like most of Pinter’s work, it comes across more as an exercise in theatrical masturbation: an actor’s wet dream, an audience member’s loss of libido. And indeed, when I looked around the house that night during the show, I did spot a few people in the theatre with their eyes closed and heads drooping; mine, too, became a bit heavy at times.
Of course, this is NOT at all to do with the actors, who, once again, did an excellent job developing their characters. It’s just that there is only so much that audiences can tolerate when a playwright offers them very little in the way of action and lucid plot lines. It truly is a “no man’s land” that Pinter has cultivated in this play. And although I certainly appreciate what he is trying to achieve on an intellectual and artistic level, I cannot help but feel that, ultimately, Pinter’s work seems more pretentious and imitative than it is profound and original.
Again, as for ACT’s production of “No Man’s Land,” I would still have to say it was very well done with excellent acting. The set, lighting, and costume designs were minimal but practical. The sound design, which included what resembled 1970s-era sitcom theme show music, did not seem to match the otherwise heavy feel of the piece, however. And as a whole, I believe that director, Penelope Cherns, would have done better to lighten up this otherwise brooding comedy. But all in all, it is an engaging show despite itself.
“No Man’s Land” plays through August 26th at ACT. For tickets and info, go to www.acttheatre.org