Or ‘ that time I saw Magneto and Cap’t Picard on stage together’
No Man’s Land blurb
Following their hit run on Broadway, Ian McKellen and Patrick Stewart return to the UK stage in Sean Mathias’ acclaimed production of No Man’s Land, one of the most brilliantly entertaining plays by Nobel Prize laureateHarold Pinter.
One summer’s evening, two ageing writers, Hirst and Spooner, meet in a Hampstead pub and continue their drinking into the night at Hirst’s stately house nearby. As the pair become increasingly inebriated, and their stories increasingly unbelievable, the lively conversation soon turns into a revealing power game, further complicated by the return home of two sinister younger men.
What a strange, intense, odd play. I’m not sure that I ‘got it’ necessarily, but I was enthralled throughout!
Harold Pinter wrote this absurdist play in 1974 and it has either delighted or confused all who have watched it ever since. Hirst – portrayed by Patrick Stewart – is a wealthy, aristocrat, patron and poet. His former Oxford friend Spooner – brought to life by Ian McKellen – is also a poet, but one who has fallen on much harder times. In the initial stages, Hirst is cold and almost rude to his guest, sometimes appears confused as to where he is and who he is with; while Spooner is a long winded, obsequious leach. However, as the show progresses, Hirst has a second wind and the two alternate between reminiscing and baiting one another.
RANDOM FACT – Each character is named after an English cricketer.
The stage setting managed to be both lavish and minimal. It is obviously a very grand room, high ceilings, a well stocked bar discretely placed at the back. However, there is only one comfortable chair – at all times reminding us of Hirst’s status and only two less comfortable chairs scattered throughout the room. I found the negotiation for the chairs – when all four character all onstage, one is conspicuously left standing – to be particularly interesting.
It feels almost unnecessary to speak to the quality of the players. From the second that the (somewhat creepy) moving forest backdrop lifts and Sirs Ian and Pat presented, I was locked into place, utterly focused on the stage. Due to their characters ancient competition and utter inebriation, Spooner and Hirst attempt to one up one another, with increasingly ridiculous assertions and anecdotes. The sheer verbosity of the characters – let alone their ability to articulate some really peculiar lines – and that they remain compelling throughout – well, I personally did feel like I was watching two grand masters of the stage at work. Even though I’m not sure I was following the Pinter side of things at all; it was a privilege to watch.
Owen Teale and Damien Molony in their supporting roles of Briggs and Foster were equally impressive. Their motives – heck, even their relationship with Hirst – is never really clearly delineated and each appears to regard Spooner as a nuisance and a threat. Their presence alone ups the tension levels, as well as introducing a physicality previously lacking. For the first time, there is an undercurrent of violence – it directly ties into Hirst and Spooner’s history, but is separate from it. Really odd, but quite powerful. That the actors managed to apply such nuance to their characters (a few of us speculated about their characters backstories, friendship, protectiveness and so on for some time after the curtains closed!) in such a short span speaks to their respective skills. Irritatingly, I was well into the second half before I recognised Molony from Being Human and Ripper Street – he is transformed in this.
The show ends ambiguously. At least, I think it does. We certainly had lots of questions as we headed out. A new friend, who happens to be a nurse, and I speculated as to whether Hirst had dementia? Was Foster really his son – and he had forgotten it? Would that explain why he knew Spooner one moment, and not the next? How had Foster and Briggs met – from Foster’s point of view? Was Spooner actually the most genuinely masculine, owning his cringing self, while the others puffed out their chests in a show of Alpha status…Did any of this actually have anything to do with anything?
It’s my favourite feeling walking out of a theatre.
Personally, I would recommend this showing and this cast to anyone. However, I would normally be a lot more circumspect in pushing Pinter onto others as I do find his work to be really dense and locked into a particular time frame and context.
Embarrassing aside – there’s a moment where Hirst (Patrick Stewart) face plants onto the floor. For one second, I honestly thought that my Captain had just collapsed on stage, before cottoning onto the fact that Ian McKellen was still in character. I wasn’t the only one either – there was a proper gasp and an ‘oh shit no’ from others in the audience too.
Massive thanks to @HalfPintBlonde for inviting me to join in on this lovely day out. My first ‘live’ Pinter (boy, does his stuff make marginally more sense on a stage as opposed to on the page), my first theatre trip in FAR too long and my first proper visit to Sheffield ever!
By Harold Pinter
Directed by Sean Mathias
Ian McKellen – Spooner
Patrick Stewart – Hirst
Owen Teale – Briggs
Damien Molony – Foster
It would be terribly neglectful not to acknowledge the beautiful setting for this production. The Lyceum opened its doors in 1897, though there has been a theatre on the site since at least 1879. It dates from the Edwardian era – in fact it is the only surviving theatre build outside of London by esteemed architect W.G.R. Prague (ain’t wikipedia grand!) and has Grade II listed status.
Capable of housing an audience of 1000; it doesn’t feel like a grand space. There is an intimacy and friendly atmosphere that permeated throughout – most notably in the stalls which were a bit on the squeezy side, but I always think that encourages chatter with your neighbours, so for me a solid positive! (Oh and when you exit, there is this weird TARDIS like staircase where you seemed to go down far more stairs than you ever went up. Kinda cool.)
Buy Tickets HERE
Sheffield Theatres is the largest theatre complex outside London. Across our three auditoria: the Crucible, the Lyceum and the Crucible Studio, we offer a huge variety of home-grown and touring productions, as well as a thriving programme of participatory events and activities.