Pinter Made Personal in ‘Old Times’

White rectangular beams line the walls of a married couple’s farmhouse in the Adams House Drama Society’s production of Harold Pinter’s “Old Times.” These white beams seem more and more like the bars of a jail cell as the play progresses, trapping the characters in the nightmares that are their own lives. Perception becomes reality as past and present blend together in a battle of words and memories. Pinter’s play provides complicated source material, and this production—executive produced by Simon J. Williams ’09—successfully presents the big picture, despite technical inconsistencies in the acting.

The play reveals the undeclared psychological warfare that results when the enigmatic Anna (Renée L. Pastel ’09) visits her old roommate, Kate (Julia L. Renaud ’09), and Kate’s husband, Deeley (Daniel R. Pecci ’09). As the two women reminisce about old times, questions are raised about the nature of memory and the relationships between the three characters. Deeley and Anna engage in a battle over who really “possesses” Kate, using language and recollections as their weapons of choice.

“Old Times” contains many of Pinter’s trademarks as a playwright: uncertainty, an unspoken struggle for verbal control, sexual tension, questions with no answers, and an exploration of the nature of memory. These characteristics make Pinter’s work wonderfully frustrating and absorbing, but at the same time create difficulties for the director, who must clearly convey the central ideas despite an often indiscernible reality.

In this case, that burden falls upon not one, but three directors. The dual roles taken on by Pastel, Pecci, and Renaud, who direct and perform the play, add to the production’s intimacy. It is clear that the three are comfortable with one another, which adds a new level of complexity to their emotional combat. It’s almost as if the audience is intruding on a private evening shared by the play’s characters, which distances the viewers from the proceedings and makes their meanings even more elusive. Just as memory itself is murky and indistinct, the characters and their reality too are indefinite and unclear.

Although the actors’ double duties make the show feel more personal, they also lead the three to overanalyze their direction at times. Every time the two women sit together on the couch, both cross their legs. Sometimes, their movements are even synchronized. These blocking choices are too obvious for a show that otherwise thrives on its ability to create understated tension. A non-acting director might have helped infinitely in toning down the heavy-handed attention to every minute detail and allowed the three to focus on the broader ideas presented in Pinter’s work.

The three are certainly more suited to the acting portions of their jobs, where they convincingly represent truly complex, difficult, and enigmatic characters. Pecci shines in his portrayal of a man who discovers how little he knows about his wife. He seamlessly switches from confusion and distress to active aggression and hostility, making Pecci’s portrayal of Deeley excitingly complex.

Despite her commanding presence, Pastel’s acting is the weakest of the three; as she recites Pinter’s witty dialogue, she sounds too rehearsed and overly polished, which takes away from the natural quality the character might have had. Even through long stretches of silence, Renaud succeeds at making her character known. Her Kate is both delicate and forceful, and this range is crucial when she’s the object of the play’s conflict. The actors also use silence and dramatic pauses to their advantage, adding subtext to the clever banter.

For a show that demands such immediacy, the Adams House Pool Theatre is an ideal venue. The audience can witness up close and personal each significant glance and small gesture. The set—designed by Davone J. Tines ’09—is simple enough to establish the location, yet doesn’t distract from the verbal clashes between the actors. Most of the production is left open for the audience’s interpretation, so every last technical detail is critical.

“Old Times” is a difficult show to stage, and this production doesn’t succeed in overcoming all of the play’s challenges. However, in the end, it’s impossible to completely obscure Pinter’s message about the imprecise nature of human memory. Questions are ultimately more important to understanding the play than definite answers. Pastel, Pecci, and Renaud have presented an experience; it is up to the audience to parse the subtleties in order to find personal meaning in Pinter’s work. “Old Times” works mostly because of the strong writing. While the three do a passable job at interpreting Pinter’s work, perhaps they should fold up the director’s chairs for the time being.