Difference between revisions of "The Servant (1973)"

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Robert Maugham's novel "The Servant" achieved its wider fame at second hand, through the powerful Joseph Losey film, scripted by Harold Pinter and dominated by Dirk Bogard's chilling performance as the servant-turned-master Barrett.
 
Robert Maugham's novel "The Servant" achieved its wider fame at second hand, through the powerful Joseph Losey film, scripted by Harold Pinter and dominated by Dirk Bogard's chilling performance as the servant-turned-master Barrett.
  
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Maugham's own adaptation for the stage enabled him, as it were, to get out from under this formidable team, and to speak with his own voice. It proves to be no unworthy voice, though I feel a more experienced dramatist would have found a more free-flowing alternative to the nine self-contained scenes which defeat the tensions if his play.
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The theme is  one of psycho-sexual domination, as the deferential Barret works on the weakness of his master Tony. Like some evil weed pushing its way through a garden he gradually comes to rule the house on his own terms leaving the weak and drunken Tony trailing weakly at his command.
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I have no space to discuss the fascinating question of how Maugham's treatment of the story compares with Pinter's, though I would have much to say on that subject. The producer at the S.L.T.C. is John Harris, and his action is  placed in an admirable split-level set representing living room, kitchen and bedroom.
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The gaps between the scenes, though no doubt unavoidable, work against the drama. But there can be no doubt taht in Robert Holden, Mr Harris has found a Barrett of very high voltage.
  
 
== Gallery ==
 
== Gallery ==

Revision as of 11:34, 16 October 2008

Poster by Poster Designer

by Robin Maugham

Directed by John Harris

Performances: Dates not in archive book June 1973, Theatre


Introduction

Text about the play

Cast

Crew

Reviews

"Gentleman's Gentleman"

Robert Maugham's novel "The Servant" achieved its wider fame at second hand, through the powerful Joseph Losey film, scripted by Harold Pinter and dominated by Dirk Bogard's chilling performance as the servant-turned-master Barrett.

Maugham's own adaptation for the stage enabled him, as it were, to get out from under this formidable team, and to speak with his own voice. It proves to be no unworthy voice, though I feel a more experienced dramatist would have found a more free-flowing alternative to the nine self-contained scenes which defeat the tensions if his play.

The theme is one of psycho-sexual domination, as the deferential Barret works on the weakness of his master Tony. Like some evil weed pushing its way through a garden he gradually comes to rule the house on his own terms leaving the weak and drunken Tony trailing weakly at his command.

I have no space to discuss the fascinating question of how Maugham's treatment of the story compares with Pinter's, though I would have much to say on that subject. The producer at the S.L.T.C. is John Harris, and his action is placed in an admirable split-level set representing living room, kitchen and bedroom.

The gaps between the scenes, though no doubt unavoidable, work against the drama. But there can be no doubt taht in Robert Holden, Mr Harris has found a Barrett of very high voltage.

Gallery

Reminiscences and Anecdotes

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See Also

Have there been other SLTC/SLT productions of this play? Link to them here.

Or add anything that is related within this site. The author's page for instance or other plays with a similar theme.

References

<references/>

External Links

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