There are plays that make you laugh. There are plays that make you cry. Then there are plays that make you think for days after the curtain call has ended and the lights have gone up. Mary Papadima’s production of Harold Pinter’s Old Times is definitely one of these.
The play appears to start ordinarily enough: a couple, Kate (Rebecca Todd) and Deeley (Liam Smith), anticipating the arrival of Kate’s old friend Anna (Katie Hayes). However, because this is Pinter, all is not as it seems. The surreal curves of the set, reminiscent of a Dali painting, hint at the distorted reality that follows, as Deeley and Anna engage in a power struggle over their claims to Kate. As versions of the past surface, the possibilities voiced (and not voiced) by the characters make the Pinteresque silences spine-tingling – particularly in the intimacy of the Theatre by the Lake’s small studio theatre.
It was this intimate space that helped to produce the play’s intense, claustrophobic atmosphere. However, it was the fearsome, electric, and sometimes sensual onstage chemistry between the actors that really created, sustained and then heightened the tension.
From Hayes’ Anna, confidence in her own sensuality, to Smith’s Deeley, too full of assurances of his role as alpha male, to Todd’s Kate, often voiceless in her position trapped between the two – each of the three elusive roles was executed with a sensitivity and realism that left the audience unsure whose side to take in the unfolding battle for a kind of dominance.
Put all of this against the backdrop of Sanne Noppen’s soundscape of dripping water, rumbles, and low unspecified noises, and the tension and uncertainty in the theatre simmered almost to boiling point.
In a play where memories differ and realities are constantly shifting, and the truth of nothing is guaranteed, it is easy to forget that these are actors, and that we as the audience have unwittingly become a part of the layered and manufactured realities that make up the fabric of the play. It is the sort of production that leaves you reeling.