Jonah and Otto
While the play is at times Pinteresque, it is talky in a way Pinter never is, explaining everything over and over, covering the same ground again and again. Nothing much happens other than that the men become more confiding and reveal more of their personal pasts. The play implies that Jonah is menacing, but under Hughes’ direction, he never seems much of a threat. The pace is slow and methodical, too slow for its own good. Sean Gormley’s Otto and Rupert Simonian’s Jonah are well-rounded characters but the acting style is too refined, too genteel to make much impression. [more]
