By Nicholas de Jongh
I have never seen a Pinter play so possessed by deathly foreboding, menace and covert gay desire. Almost every pore of Rupert Goold’s revelatory production, with its ominous flutters of sound and music, is permeated by these emotions and athletic flights of black comedy.
Goold, a director who inspired shudders of revulsion and surprise with his radical Macbeth and Six Characters In Search Of An Author, works a similar magic for No Man's Land. Yet he remains entirely faithful to Pinter's visionary comic fantasia, in which two old men, Hirst and Spooner, strike up a conversation one summer night on Hampstead Heath and return to Hirst's grand home.
Full published article at: Evening Standard