“An alluring and intelligent production season opener for Soulpepper. Subtle, sultry and sexy performances. A hint of continuous, permeating danger throughout. ‘Old Times’ may not be to all tastes, but I was certainly intrigued by it.”
In his Director’s Note, Peter Pasyk references a 1971 interview with playwright Harold Pinter. A brief online search confirms that Old Times premiered in 1971. To understand this Soulpepper production, it is essential to remember that the late 1960s and early 1970s were times of significant tumultuous upheaval in social, political, and cultural transformation. The Vietnam War and the American civil rights movement are just two examples.
Understanding this base historical context, it remains evident why Pasyk describes his initial reading of Old Times as “gripping, disturbing and beguiling.” Considering the sometimes-deafening noise of the historical era, the silence in the play between characters becomes particularly impactful. The silence intensifies the gradual and shocking revelation of the end surrounding the play’s truths. There are several silences in the show that are rather long at times. They’re there for a reason. Sometimes sitting in silence can be awkward and uncomfortable. Other times, silence brings a respite from a noisy world. In Soulpepper’s production, silence serves as a prompt for the audience to engage more deeply in the story. Silence relies on attentive listening to trust one’s intelligence and intuition about the mystery behind Old Times.
Pinter utilizes short, simple sentences in the dialogue between the characters. This directness focuses attention. It also creates suspense in the audience’s mind as they try to piece together the story’s direction. What makes the play even more intriguing is (what some in the theatre call) the ‘Pinter pause.’ The Pinter pause conveys a great deal of emotional control at any given moment.
Kate (Anita Majumdar) and Deeley (Christopher Morris) are smoking cigarettes, having a drink, and waiting for her friend, Anna (Jenny Young), to arrive. Kate and Anna haven’t seen each other in over twenty years. Deeley has never met Anna before. What’s interesting in that first scene is that the husband and wife never mention each other’s names. An interesting sideline: I didn’t hear Deeley’s name mentioned at all in the play from where I was sitting in the house. It’s about halfway through the play before Kate’s name is finally mentioned. Near the end of the play, Anna’s name is finally mentioned.
Kate shares that Anna was her only friend during college. Anna, however, had many friends. During the conversation between husband and wife at the top of the show, Kate shares that Anna sometimes wore her underwear during her college years. Upon Anna’s arrival, she shares that she and Anna had many fun times during their undergraduate years. Kate remains silent as Anna shares information with Deeley. When Deeley shares with Anna how he met Kate, Anna then begins to tell a rather bizarre story. While living with Kate, Anna comes back to the apartment one night to find Kate sitting in silence and a young man sitting in the armchair, crying. This man’s face was covered, and Anna couldn’t see it. What then follows from this taut story that Anna shares is a series of events that raise an eyebrow even in a woke twenty-first-century world.
Snezana Pesic’s sleek-looking set design on a raked stage offers ample viewing from the audience. There are two chaise lounges and an easy chair. The chaise lounges are moved with fluid ease. Imogen Wilson’s effectively stark lighting design on the upstage, rather large, opaque living room window nicely reflects audience members sitting in their seats. When the play begins, a gorgeous-looking sunset appears in the window. Wilson’s complete black and full-throttle white lighting remains an excellent choice. Jacob Lin’s 林鴻恩* extraordinary sound design in capturing the sound of breaking waves against the shore heightens the impending silence and the stark reality of the play’s truth at the end.
Pasyk is an exceptional director who leaves his audience thinking long after the curtain falls. In this Soulpepper production, he effectively uses pauses and the significance of silence. The characters engage in lengthy conversations of simple, direct sentences. Movement across the stage—whether to grab a drink or look out the window—is purposeful and justified. Pasyk directs the characters’ movements like chess pieces, ensuring that every action has a clear intention and reason behind it.
Anita Majumdar, Christopher Morris, and Jenny Young deliver strong performances. Majumdar is striking and elegant in her red dress, a fitting choice by Pesic. When she removes her high heels and sits barefoot on the chaise lounge, she embodies the persona of a femme fatale. Morris looks sharp in his green cardigan, brown dress pants, and matching brown shoes, exuding a haughty air. His Deeley especially intensifies this demeanour with Anna’s arrival. Jenny Young’s sensual portrayal of Anna is reminiscent of a blend between Marilyn Monroe and Jayne Mansfield. In the first scene, as Kate and Deeley engage in conversation, Anna stands with her back to the audience, seemingly gazing out of the large living room window overlooking the sea. When she finally turns to face the couple, she instantly radiates a compelling sexual appeal that both Kate and Deeley react to strongly.
There’s an intriguing and haunting charm about Kate, Deeley, and Anna that deepens as the play unfolds. Their unique mannerisms, distinct voices, and the way they carry themselves hint at a fascinating other-worldliness. This intriguing quality suggests that not everything is as it seems. There are several captivating moments where Majumdar and Young lock eyes, seemingly gazing right into each other’s souls, which adds an intense layer to their connection. The delightful smiles that occasionally light up the ladies’ faces bring an unsettling twist, heightening the atmosphere. As the play approaches its conclusion, Young’s poised position on the chaise lounge unveils deeper layers of who she is.
A striking moment arises when Majumdar steps off stage, prompting Kate to mention her desire for a bath, leaving Deeley and Anna in an intriguing solitude. Kate takes her time. When she finally reappears in a bathrobe, she offers yet another glimpse into the hidden truths of these characters. Amidst the charged atmosphere, Deeley’s revelation about having previously encountered Anna stirs an electric tension. His confident demeanour resonates with a sense of purpose. He speaks with conviction and gratification about the woman he once admired. It’s clear that Anna is equally captivated. Her gaze is filled with a magnetic allure that adds complexity to their relationship. This tapestry of emotions and connections keeps the audience engaged and eagerly wondering what lies ahead.
From my ten-year experience in writing reviews and articles, I’ve rarely seen plays by Harold Pinter. I was looking forward to seeing why Pasyk considers Old Times to be one of the playwright’s greatest achievements.
Truth be told, it is not easy to understand on a first viewing. Soulpepper bills Old Times as a psychosexual thriller of memory, power and desire. Mind games abound in the story. I’ve come away with one understanding and am trying dearly not to spoil surprises for future audiences.
Throughout the performance, I sat in my seat transfixed. There were moments when I held my breath. I didn’t want to move because I did not want to miss a thing.
What’s one thing I came away understanding about a Pinter play? It’s the underlying subtext of truth that drives performances. It’s also another reason why actors love to sink their teeth into a Pinter play.
Should you go and see Old Times?
Absolutely. You may not see what I did.
If you see something entirely different, excellent.
That’s why Pasyk says a Pinter play is like a lasting poem: its meaning both expansive and illusive.
Running time: approximately 70 minutes with no interval/intermission.
Old Times runs until September 7 in the Michael Young Theatre in the Young Centre for the Performing Arts, 50 Tank House Lane, Toronto’s Distillery District. For tickets: soulpepper.ca or call (416) 866-8666,
SOULPEPPER THEATRE presents
Old Times by Harold Pinter
Directed by Peter Pasyk
Set and Costume Designer: Snezana Pesic
Sound Designer: Jacob Lin 林鴻恩*
Lighting Designer: Imogen Wilson
Stage Manager: Victoria Wang
Performers: Anita Majumdar, Christopher Morris, Jenny Young
