The Homecoming

Harold Pinter pushes the boundaries of acceptability in The Homecoming, a challenging, powerful and ultimately disturbing story and therefore one which makes for an unusual choice for Et Al Theatre Company's first production. Despite the risks and somewhat dangerous territory of the plot, this production sees a sophisticated and intelligent interpretation whilst maintaining a striking tension throughout.

The play explores morality in a household of one London family, as the eldest son Teddy returns home after six years away to introduce his wife, Ruth (Imogen Lloyd) to his family. Heads turn as the first female influence in the house for many years starts to make  herself at home and quickly gathers a questionable affection between all the brothers and the dominated father. The play's cryptic and often ambiguous motives lead to constant perplexity, but amidst this confusion comes a striking performance by Sebastian Ross (as Lenny), a slick and somewhat creepy wide-boy whose meticulous appearance is juxtaposed with his murky backstreet career. His character's nuances—a slight move of his hand or a look that lasts a moment too long—are what makes the production so successful when combined with Ross' confidence and ease, creating an increasingly uncomfortable relationship within the audience.

The stark, dismal set seems a purposefully minimalist backdrop to what should be seen as a crowded story. It would be easy for the reputation of the play to supersede expectations, as a challenge so big that it would have drowned any notion of merit. Et Al refuse to shy away from the controversies which in turn steers the play away from obscurity and keeps its longevity intact, with a relevance that it seems will never fade. It's still as shocking, and also has a poignancy drawn out by a strong cast.

It's not the sexual ethics behind the script which attack our conscience but rather the intent with which they are performed. The controlled and measured performance of Oscar Lamont as the only rational member of the family balances the chaos which surrounds him as, like us, he overlooks the baffling incestuous and inter-marital relations at play. At times, just when we think we have little in common with such a disrupted and disturbed family, the fundamental exploration of friction within the unit hits home, and it is this recognition of real life which allows us to accept the horrors that unfold before our eyes.