Review: THE HOMECOMING, Young Vic Theatre

Photo credit: Manuel Harlan

As smoke curls in the air between the actors' fingers, The Young Vic's new revival of the modern classic The Homecoming transports the audience straight back to the 1960s. The tension, humour, power play, and absurdity hit all the right notes, captivating the audience once again with its dark humour and mind-boggling plot.

A heavy fog pours out when the house opens. The audience, swallowed by the haze, is immersed in the energetic fast-paced jazz of the 1960s, bringing everyone into the heart of the era. With an abrupt silence, a warm spotlight hits the actor, and the audience holds their breath as the play begins.

Returning home to London after six years in the United States, Teddy (Robert Emms) introduces his wife, Ruth (Lisa Diveney), to his family for the first time. The household, comprised solely of males—Teddy's father, Max (Jared Harris), brothers Lenny (Joe Cole) and Joey (David Angland), and Uncle Sam (Nicolas Tennant)—experience a significant shift in dynamics with Ruth's presence, revealing ongoing conflicts involving power, suppressed anger, and complex sexual undertones within this patriarchal setting.

Olivier-nominated Director Matthew Dunster delivers a thrilling exploration of Harold Pinter's Tony Award-winning modern classic. Keeping the play within its original era is a decision that is much appreciated. With the social context, it allows the actors space to explore the deeply misogynistic traits within the characters. Dunster's stylish approach, wavering the audience between the real world and the imaginary, eases us into the absurdity. The strategic use of the famous big long Pinter pauses is effective. Throughout the two-hour play, Dunster keeps the audience in the palm of his hand every second.

The design of this production immediately draws the audience in. Designer Moi Tran's minimal yet effective set creates an uneasy atmosphere, with furniture surrounding the edge of the stage, trapping the actors within the invisible walls of this toxic family. The airiness of the set echos the silence that is used in the play. Ruth's costume is a highlight. Her Twiggy hairstyle and the '60s high-neck silhouette add charm and personality to the character. Sally Ferguson's sharp and strong lighting design builds suspense, oscillating between naturalism and surrealism. George Dennis' sound design brings the atmosphere this production needs. It is energetic, yet sensitive. The vitality heightens the dramatic effect when the silence arrives.

The cast deliver a brilliant performance. Harris' grounding performance brings freedom to Max's character, struggling to suppress his vulnerability with an exaggerated masculine façade. With Cole's playful physicality, Lynn is charged with vibrant energy. Together with Angland's childlike quality, they bring humour to their roles, portraying a pair of boys who never quite grew up. Tennant's Sam is wonderful to watch, showcasing mastery in dark comedic timing. Ruth is a challenging character to tackle, and Diveney does not disappoint. Her control, switching between predator and prey swiftly, shows her strength from within.

Upon pushing the agency and control in Ruth, it is a shame that, in Pinter's writing, while the male characters are so detailed, there is barely any history exploration on this fascinating woman, keeping the audience from understanding her decisions in the play. Though this might be a recurring topic every time the play is revised, or perhaps we should respect Pinter's decision of not moralising any decisions these characters are making. Regardless, it definitely keeps the audience thinking after seeing the production.

The Young Vic's revival of The Homecoming is a delightful production, respectfully bringing Pinter's vision to the forefront, leaving the audience with deep distress and confusion as Pinter intended. It is not a production for everyone due to its context, but for those open to a wild ride, you will surely appreciate the exploration of toxic masculinity in the most absurd way.

**** Four stars

Reviewed by: Diana Feng

The Homecoming plays at the Young Vic Theatre until 27 January 2024, with further information here.