Which way is our leading dramatist going? Is Harold Pinter moving away from the extravagantly 'Pinteresque' situations and language of his earlier style—which he had revived with the re-discovery and exhumation of The Hothouse? or is he developing in the direction of a new, much more subtly searching exploration of his favourite themes of memory, the nature of the self and of reality; a direction in which he had embarked with Betrayal?…

[Other Places] gives an affirmative answer to both alternatives intimated by that question: two of the brief playlets in the triad are vintage Pinter, one, and by far the most interesting and fascinating delves ever more deeply into the new style and method.

[Family Voices is] essentially a radio play. It consists mainly of a montage of 'letters', letters that obviously have never been sent nor ever been received, between a young man—not yet...