Anyone who isn’t familiar with the plays of Howard Pinter should be alerted of what to expect. They are not everyone’s cup of tea. Pinter can terrorize with characters who inhale the air around them with long pauses and stories that really have no real plot but are gripping, cruel and callous.
“The Caretaker”, originally presented in 1960 in London, introduces us to Davis/Jenkins, whichever name he admits to at the moment. A superb Johnathin Pryce plays a smelly character without any redeeming qualities – unpleasant, manipulative, harsh, untrusting and soulless.
He has been rescued from a fight by Aston (an inspired Alan Cox), a seemingly gentle soul who offers him a place to stay. Aston brings him to his disheveled, cluttered, grimy apartment in a disrepaired house owned by his brother Mick (a dazzling Alex Hassle), who is a menacing, intimidating, probably bipolar controlling nut case. They each offer Davis the job of caretaker for the shabby building, and he in his own scheming way alienates the brothers and is asked to leave. There is the shell of the “Caretaker”.
What takes place with each character and why they are the way they are comes forth in amazing dialogue and presentation. The three actors are brilliant and give stunning performances.
Christopher Morahan deftly directs with dark humor and pathos with control, as he did with the recent London production of “The Caretaker.” The squalid, seedy set is supplied by set designer Eileen Diss with appropriate lighting and sound by Colin Grenfell and Tom Lishman.
As I said, “The Caretaker” is not for everyone but if you appreciate a heart wrenching presentation by three outstanding actors “The Caretaker” may be for you.
Camille Bounds is the Theatre, Arts and entertainment editor for the Western Division of Sunrise Publications
