The Homecoming
by Harold Pinter
Directed by Milton Zoth
St. Louis Actors’ Studio
May 23, 2014
Charlie Barron, Peter Mayer, Missy Heinemann, Ben Ritchie, Larry Dell, Nathan Bush
Photo by John Lamb
St. Louis Actors’ Studio
Theatre is fascinating in its variety. Sometimes a play will be easy to understand and will simply entertain. Some plays will make you think a little bit. Occasionally, there will be a play that makes you think a lot, and then re-think and second guess, and think again, all the while leaving you unsure of whether you really understood what was happening. Harold Pinter is a master of this kind of play, and The Homecoming is a prime example. Provoking, challenging, and even daring the audience to make sense of its plot and characters, this is a play that can stick in a viewer’s head, especially in the hands of a strong cast and director. St. Louis Actors Studio, closing out their 2013 season, is presenting a memorable, challenging production of this intense and challenging play.
The most often-repeated comment I heard from audience members after this play was “and you thought your family was weird!” Indeed, with The Homecoming, Pinter has introduced a dysfunctional family at the extreme end of the scale. The family is initially presented to be something of a garden variety snarky brood, as patriarch Max (Peter Mayer) trades barbs with his angry, enterprising son Lenny (Charlie Barron) and his fastidious brother, Sam (Larry Dell) and humors his other son Joey (Nathan Bush), a not-too-bright wannabe boxer. As for the sons’ late mother, there are hints and vague reminiscences but very little concrete information. It’s when long-absent eldest son Teddy (Ben Ritchie), a philosophy professor, returns to his childhood home with his initially nervous wife Ruth (Missy Heinemann) in tow that it starts to get more obvious how truly strange this family is in reality. It’s clear from their arrival that there is tension in Teddy’s and Ruth’s marriage, and Ruth’s confrontational meeting with Lenny sets the tone for more revelations as the story progresses, revealing the true character and motivations of each family member while leading to a shocking proposal and somewhat surprising conclusion.
The characters here, while not particularly likable, are very sharply drawn and expertly portrayed by an extremely strong group of actors. Barron is a force of nature as Lenny, a mixture of magnetic presence and fierce, unapologetic and even brutal amorality. He can be downright scary, but but he’s also fascinating to watch. His first meeting with Heinemann’s initially hesitant but ultimately just as devious Ruth is charged with primal energy and challenge. Ritchie, as the weak-willed Teddy, and Bush, as the brutish but almost childlike palooka Joey, provide excellent support, and Dell is engaging as the one character who seems to have a conscience, the proud but conflicted Sam. As Max, Mayer is a match for Barron in his darkly comic energy and potential for menace, with a layer of obvious nostalgia for an earlier time that may not have been as great as he insists on presenting it. The entire cast displays an impressive sense of chemistry and energy as the plot unfolds, displaying a full range of the darker aspects of human nature as well as very real, if misplaced, sense of longing for acceptance and familial connection that is made very clear even in the midst of the more twisted and unsavory goings-on.
The mood and tone of this production is aptly suggested by Patrick Huber’s detailed set, which portrays a well-worn house that displays many signs of disrepair, much like the family that inhabits it. The exposed beams of a hastily-removed wall in the middle of the room, and the ghost images of long-forgotten paintings on the back wall suggest a sense of carelessness and despair. The costume design, by Carla Landis Evans, is also strikingly appropriate, from Max’s much-worn ragged undershirt to Sam’s more meticulous attire and Lenny’s more flashy-sleazy outfits that suggest the nature of his “occupation” that is ultimately revealed in the second act of the play. Zoth’s dynamic staging adds to the offbeat atmosphere as well, creating a tense, character-driven production that holds the attention throughout the highly-charged proceedings.
This is not an easy play to understand, to put it mildly, and it’s bound to provoke strong reactions. This is a play that is at once bizarre, shocking, challenging and even infuriating. This isn’t a happy play, nor is it easy to process, and it’s definitely for adult audiences. Still, with its sharply drawn characters, top-notch acting and impeccable staging, The Homecoming is theatre at its most provocative and complex. It will surely give you something to think and talk about on your way to your own home.