On September 13, 2019, I had the pleasure of seeing a production of Harold Pinter's No Man's Land by London Classic Theatre in Hull Truck Theatre. While waiting for the play to begin, I grabbed the play's program and started weaving the images I saw there with my own imagination of how the play's set would look like in reality. However, when we were finally ushered into the auditorium, the stage design has surpassed all my imaginations. The circular space of the room evokes the ebbs and flows of the central character's memory. Hirst (Moray Treadwell) is a creative writer who invites an old friend, Spooner (Nicholas Gasson), from his days at Oxford, who after showing immense gratitude for the invite, starts reminding, and even challenging Hirst on certain past events that ruffle Hirst's initial self-composure and forces him to retire to sleep halfway through the night, which has been...
No Man's Land
FARAH ALI is an assistant professor of English Literature at Lahore University of Management Sciences (LUMS), Pakistan. She is interested in all aspects of Pinter's works, especially identity politics and other social issues.
Farah Ali; No Man's Land. The Harold Pinter Review 31 May 2020; 4 (1): 142–143. doi: https://doi.org/10.5325/haropintrevi.4.1.0142
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