Clive Owen makes his Broadway debut in Old Times, the unsettling drama of desire and blurred realities by Nobel Laureate Harold Pinter. Owen is Deeley, a man quite looking forward to meeting Anna, his wife Kate's friend from long ago. But as the night goes on, Anna's visit quickly shifts from an ordinary sharing of memories to a quiet battle for power. Douglas Hodge, a frequent performer and director of Pinter's works, directs the haunting and passionate revival.
Once you can see past the, uh, smoke screen, there's evidence of real emotional embers smoldering among this talented ensemble, who are just waiting for the moment to turn into human flamethrowers...Fortunately, Ms. Best, Ms. Reilly and Mr. Owen...are skilled and charismatic enough to fulfill these requirements without entirely overwhelming the play's more subtle essence...In Mr. Hodge's interpretation, everyone exists in a five-alarm state of tension from the get-go, with equally heightened poses and inflections. Ms. Reilly finds a little-girl petulance in Kate's seeming passivity, while Ms. Best's Anna is worldly to the point of vampishness. Mr. Owen underscores Deeley's beleaguered air of machismo with a self-parodying, lounge lizard swagger. This approach, verging on caricature, makes "Old Times" more obviously funny than it usually is, and the desperation within the triangle reads larger...Less felicitously, this more-is-more sensibility can also make the script seem self-parodyingly pretentious.
Seldom has an enigma been as ravishingly compelling as in the provocative revival of "Old Times" that opened Tuesday night at the American Airlines Theatre. With a trio of fine British actors breathing life into their cryptic characters, the dance of memory and seduction in Harold Pinter's brief 1971 play - it runs a little over an hour - never flags for an instant.
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