A production of Pinter’s The Birthday Party at the Harold Pinter Theatre, London, 60 years after its less than successful premier at the Lyric Hammersmith in 1958, has been announced. Ian Rickson, who directed Pinter in Krapp’s Last Tape in 2006, is in the director’s seat, and the cast so far announced at Toby Jones (Stanley) Zoë Wanamaker as Meg and Stephen Mangan as Goldberg. Tickets went on sale at midday yesterday. http://www.thebirthdayparty.london/
The UK project, Pinter Histories and Legacies: The Impact of Harold Pinter’s Work on the Development of British Stage and Screen, which is funded by a million pound grant from the Arts and Humanities Research Council, has been up and running since January this year, but is beginning now to gain momentum with the employment of four research fellows. Led by Mark Taylor-Batty at the University of Leeds, the project now has a website at www.pinterlegacies.com, a twitter feed @pinterlegacies, and those who use Facebook can ‘like’ their page at https://www.facebook.com/pinterlegacies/ to receive updates in their streams. The core of the project will involve the construction of a database of every professional production, broadcast or screening of a Pinter work in the UK since 1957.
We’re delighted to see the arrival of the first of our new Harold Pinter Review journal editions. See our journal page for how you might receive your own, or contribute to the next one.
On 15 December, the National theatre will broadcast live to cinemas a production of Pinter’s No Man’s Land, starring Patrick Stewart and Ian McKellen. Details are available here, including an option to check which local cinemas are participating:
HAROLD PINTER: HISTORIES AND LEGACIES
The UK Arts and Humanities Research Council has just awarded funds for a million-pound research project on the work of Harold Pinter. The project will identify and assess every professional production in the UK of Pinter’s plays between 1957 and 2017, as well as his output on television, radio and film.
Led by Dr Mark Taylor-Batty (Workshop Theatre, University of Leeds), with co-investigators Professor Jonathan Bignell (University of Reading) and Professor Graham Saunders (University of Birmingham), and a team of full-time researchers and technical experts, the project will create a public database drawing on the Pinter archive at the British Library and other sources such as the BBC Written Archives and theatre and personal archives. The research will facilitate the construction of new appreciations of how Pinter’s work across media forms his distinctive voice, and the impact that his output has had.
Knowledge and information will be shared via website, blog, conference and published work, and also innovative formats of eBook, iBook and proposals for an interactive app concept. In 2018, the tenth anniversary of Pinter’s death, the British Film Institute (BFI) will present a curated season of screenings at BFI Southbank, in collaboration with the project team, to mark Pinter’s contribution to British screen culture. New investigations into his long-standing creative relationships with directors and performers will offer important insight into his impact upon contemporary practice on stage and screen.
International director, composer and Pulitzer Prize-nominee Christopher Martin (also Founding Artistic Director of Classic Stage Company where he directed nearly 100 productions) is set to direct a NYC revival of the Harold Pinter play OLD TIMES which will run November 25th thru December 11th at the ‘White Space’ at Alchemical Theatre Laboratory (104 West 14 St.).
Martin’s deliberately spare interpretation of the suspenseful Pinter drama will feature an international cast and comes 45 years after it was first performed by the Royal Shakespeare Company at the Aldwych Theatre in London in 1971 (which Martin saw). He received a Pulitzer Prize nomination for his translation of the Heiner Müller text for Robert Wilson’s The Civil Wars.
In OLD TIMES, Anna visits her old friend, Kate, at the converted farmhouse she shares with her husband Deeley somewhere on the English coast. Anna has never met Deeley. Or has she? Twenty years have passed since the two women last saw one another, and rivalry between Anna and Deeley soon ignites a dangerous game of chess, the presumed prize being Kate. In this production, the setting is as minimalist as the language, in which silence plays an equal part. A large empty space with three windows and two armchairs; the dead leaves scattered across the floor are no more than the collective souvenirs of the past.
The cast is Philip O’Gorman from Ireland, Danielle Shimshoni from Israel & Katarina Vizina from Slovakia.
Call for Papers for the forthcoming MMLA in Cincinnati, OH, November 9-12 2017.
MMLA Drama Section CFP
Play and Passivism
In contradistinction to the MMLA General Theme, “Arts and Activism,” the Drama Caucus seeks papers on play and passivism in modern and contemporary drama. Papers might address such topics as pointlessness, lethargy, apathy, ennui, and incompetence. We especially welcome proposals that promise innovative or unconventional presentational modes. 350-word abstracts are due 1 April 2017 to Matthew Bowman, email@example.com.
MMLA Pinter Session CFP
The International Harold Pinter society seeks papers on Pinter Modalities. Papers might address such topics as presence and absence, sound, visuals, space, the body as sign, movement, and narrative. We especially welcome proposals that promise innovative or unconventional presentational modes. 350-word abstracts are due 1 April 2017 to Ann C. Hall, firstname.lastname@example.org.
The Harold Pinter Review is seeking journal articles for its 2018 issue. Essays on Pinter are welcome, but we would like to encourage essays on other modern and contemporary dramatists for this issue, as well. For more information, contact email@example.com. To submit an article for review, please use the Penn State Press Editorial Manager: http://www.editorialmanager.com/hpr/default.aspx
The Harold Pinter society is open again to new members, and plans are in place now to publish new volumes of the journal.
The International Harold Pinter Society (IHPS) is dedicated to studying the various art forms of Harold Pinter and other contemporary playwrights. Over the past few years, the IHPS has not collected dues because the journal, The Pinter Review, was not being published. Recently, however, IHPS found support for the journal through Penn State University Press and funding from the University of Louisville.
We hope you will join us and participate in the International Harold Pinter Society for the 2017 year when the next volume of The Pinter Review will appear. For this “comeback” volume, we have solicited essays from Pinter scholars on the topic of Pinter and time. We are also soliciting essays and theatre and book reviews for the 2018 volume. Send queries regarding the journal to firstname.lastname@example.org or email@example.com.
Download the announcement flyer to help spread the word.
Established in 2009, the PEN/Pinter prize is awarded every year to a writer of proven literary merit. It was recently declared that Pinter’s friend Rushdie would be this year’s recipient. Maureen Freely, chair of judges, said: “This prize is English PEN’s way of thanking Salman Rushdie not just for his books and his many years of speaking out for freedom of expression, but also for his countless private acts of kindness […] When he sees writers unjustly vilified, prosecuted, or forced into exile, he takes a personal interest. I think he would be the first to say that it was Harold Pinter who set the example in this regard: the engaged writer never sleeps.” Antonia Fraser commented that “Harold admired Salman Rushdie’s work profoundly long before he met him. This award would have meant a great deal to Harold who respected Salman twice over, both for his work and his great personal courage.” Rushdie responded: “It’s very moving to receive an award named after my friend Harold Pinter, whose literary genius was matched by his passion for social justice, and to follow in the distinguished footsteps of the previous recipients.”