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who has a close relationship with the boss, speculates that they might be here not just to hide from the police but also to kill another person. Ken is calm and enjoys the opportunity to do some sightseeing in Bruges while waiting for their orders, while the younger man, Ray, is emotionally volatile, swinging between boredom and severe guilt at shooting the young boy. While the two men await their orders they argue and one of them bemoans their circumstances. Eventually the boss calls, asks Ken to send Ray out of the room, and then informs him that the trip to Bruges was intended to be a farewell gift for Ray, who he must now assassinate as justice for killing the young boy.
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him to do a thing like that?" which shifts responsibility and suggests the old man was a victim to be pitied. "The eventual split between Ben and Gus is foreshadowed in the very first joke.... By the end of the play, Pinter has trained us to see that the content of the joke-exchange is meaningless: what is important is the structure, and the alliances and antagonisms it reveals."
213:, which delivers occasional food orders. This is mysterious and both characters seem to be puzzled why these orders keep coming; the basement is clearly not outfitted as a restaurant kitchen. At one point they send up some snack food that Gus had brought along. Ben has to explain to the people above via the dumbwaiter's "speaking tube" that there is no food.
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the play open to interpretation, "wanting his audience to complete his plays, to resolve in their own ways these irresolvable matters". Pinter stated that "between my lack of biographical data about and the ambiguity of what they say lies a territory which is not only worthy of exploration but which it is compulsory to explore".
343:. It combines the classic characteristics of early Pinter – a paucity of information and an atmosphere of menace, working-class small-talk in a claustrophobic setting – with an oblique but palpable political edge and, in so doing, can be seen as containing the germ of Pinter's entire dramatic oeuvre".
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Another interpretation is that the play is a political drama showing how the individual is destroyed by a higher power. "Each of Harold Pinter's four plays ends in the virtual annihilation of an individual.... It is by his bitter dramas of dehumanisation that he implies "the importance of humanity".
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In the theatre, the emotional power of the play is more readily felt than understood. Pinter "created his own theatrical grammar – he didn't merely write characters that had an emotional response to something... But instead, through his characters' interactions and phrasings, Pinter seemed to conjure
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Gus leaves the room to get a drink of water in the bathroom, and the dumbwaiter's speaking tube whistles (a sign that there is a person on the other end who wishes to communicate). Ben listens carefully—we gather from his replies that their victim has arrived and is on his way to the room. Ben shouts
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The stories Ben picks out from his newspaper have a similar purpose. He describes an old man, wanting to cross the street, who crawls under a lorry and is run over by it (but it is not clear if the man is killed or not). Ben seems to expect the response, "What an idiot!" but Gus replies "Who advised
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which also features two hitmen waiting in confinement for instructions from their mob boss after they accidentally killed a young boy during their last assassination. Neither of them understand why they have been sent to Bruges, since they could easily be kept hidden in the UK — the older man, Ken,
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Overall, "it makes much more sense if seen as a play about the dynamics of power and the nature of partnership. Ben and Gus are both victims of some unseen authority and a surrogate married couple quarrelling, testing, talking past each other and raking over old times". It is "a strongly political
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Although the play is realistic in many ways, particularly the dialogue between Ben and Gus, there are also elements that are unexplained and seemingly absurd, particularly the messages delivered by the dumb waiter itself, and the delivery of an envelope containing twelve matchsticks. Pinter leaves
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The windowless basement is characteristic of Pinter's sets. "Pinter's rooms are stuffy, non-specific cubes, whose atmosphere grows steadily more stale and more tense. At the opening curtain these rooms look naturalistic, meaning no more than the eye can contain. But, by the end of each play, they
201:, Ben and Gus, are waiting in a basement room for their assignment. As the play begins, Ben, the senior member of the team, is reading a newspaper, and Gus, the junior member, is tying his shoes. Gus asks Ben many questions as he gets ready for their job and tries to make tea. They argue over the
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combines "the staccato rhythms of music-hall cross-talk and the urban thriller". The dialogue between Ben and Gus, while seemingly concerned only with trivial newspaper stories, football matches and cups of tea, reveals their characters. In Pinter's early plays, "it is language that betrays the
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of the title refers to the serving hatch and food lift that delivers orders to the gunmen. It could also refer to Gus, who fails to realise that he is waiting to be the victim, or even to Ben, whose obedience to a higher authority eventually forces him to eliminate his partner.
299:"For an audience to gaze into Ben and Gus' closed basement room and overhear their everyday prattle is to gain insight into ... the terrifying vision of the dominant-subservient battle for power, a battle in which societies and individuals engage as a part of daily existence".
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for Gus, who is still out of the room. The door that the target is supposed to enter from flies open, Ben rounds on it with his gun, and Gus enters, stripped of his jacket, waistcoat, tie and gun. There is a long silence as the two stare at each other before the curtain falls.
311:"The comedy routines in the early plays are maps to the themes and meaning of the plays as a whole.... Our failure to laugh may be an indication that we, the audience, have come to side (or have been taught to side) with the victim rather than the victimiser."
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of "light the kettle" and "put on the kettle". Ben continues reading his paper for most of the time, occasionally reading excerpts of it to Gus. Ben gets increasingly animated, and Gus's questions become more pointed, at times nearly nonsensical.
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Although the play uses "the semantic nit-picking that is a standard part of music hall comedy" and is generally considered funny, this is not comedy for its own sake, but "a crucial part of the power-structure".
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play about the way a hierarchical society, in pitting the rebel against the conformist, places both at its mercy", but at the same time "a deeply personal play about the destructiveness of betrayal".
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At Malibu Junior High School sometime in 1979 Emilio
Estevez staged this one-act play with young friend and fellow classmate Jeff Lucas. Jeff Lucas played Ben and Emilio Estevez played Gus.
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The religion and society, which have traditionally structured human morality, are, in Pinter's plays, the immoral agents that destroy the individual." Pinter supported the interpretation of
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278:. "The Dumb Waiter.... achieves, through its unique blend of absurdity, farce, and surface realism, a profoundly moving statement about the modern human condition".
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In 2012 a young Mark
Pallister took on the role of Gus as original cast member the now Famous Lee Evans was unavailable due to his touring schedule.
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is Pinter distilled – the very essence of a writer who tapped into our desire to seek out meaning, confront injustice and assert our individuality."
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One interpretation is that the play is an absurdist comedy about two men waiting in a universe without meaning or purpose, like
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Mark went on to take further acting roles however it is not known if he is still pursuing an acting career today.
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as Gus, had an extended run in a COVID secure setting with the audience masked and socially distanced.
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The first performance in London was in
January 1960, as part of a double bill with Pinter's first play
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1959 – the play was turned down by the BBC, being considered "too obscure" for the TV audience.
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villains – more pat, more cliché-ridden, with more brute power than that of their victims".
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event aims to spread awareness of playwrights and playwrighting from around the globe.
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might be considered the best of Harold Pinter's early plays, more consistent than
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1981 – the play was produced for BBC Radio starring Roy
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was directed by Bob
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Glover, Jamie. "The Dumb Waiter" (programme notes). The Print Room, 2013.
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In 2019 the play was part of a season of Pinter's one-act plays at the
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in
February 1959 with Rudolf H. Krieg as Ben and Werner Berndt as Gus.
637:.. One of two-part series, including a film of Pinter's first play,
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Brewer, Mary F. (Ed) "Harold Pinter's The Dumb Waiter". Rodopi, 2009
785:. "The Sacred Joke: Comedy and Politics in Pinter’s Early Plays",
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as Ben and George Tovey as Gus. The production transferred to the
656:(2008) is a black comedy, crime thriller directed and written by
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Derbyshire, Harry. "Harold Pinter's The Dumb Waiter (review)",
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on 12 May 1987, as part of Altman's two-part series entitled
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Hosted by a group of professional theatre artists, the
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as "political plays about power and victimisation".
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976:"The Dumb Waiter (by) Harold Pinter: Plot Overview"
902:"Review Summary and Movie Details: The Dumb Waiter"
694:. Faber & Faber, 2nd edition, 2007, p89 et seq.
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1637:The Harold Pinter Archive in the British Library
496:and Other Pieces by Harold Pinter, directed by
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47:. Consider transferring direct quotations to
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239:become sealed containers, virtual coffins."
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708:Cohn, Ruby. "The World of Harold Pinter",
468:In 2020 a 60th anniversary revival at the
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90:as presented by Stairwell Theater in 2019
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643:. Accessed 27 June 2008. </ref>
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323:Harry Derbyshire reviewed the play in
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789:. Cambridge University Press, 2009.
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419:was directed by Harry Burton, with
256:the very visceral emotion itself".
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472:, directed by Alice Hamilton with
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553:in its monthly play reading event
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935:"Plot Synopsis: The Dumb Waiter"
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547:Crane Creations Theatre Company
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1500:The French Lieutenant's Woman
209:In the back of the room is a
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1274:Remembrance of Things Past
972:. Faber & Faber, 1991.
565:Television films and Radio
900:Andrea LeVasseur (2010).
712:, 6 (March 1962), pp55-7.
596:, first broadcast by the
415:In 2007 a revival at the
408:In 1989 a revival at the
346:Jamie Glover wrote that "
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1586:The Tragedy of King Lear
1548:The Comfort of Strangers
970:Harold Pinter: Plays One
904:. Movies & TV Dept.
611:feature film version of
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45:summarize the quotations
1647:Art, Truth and Politics
1396:The Pres and an Officer
887:"About the Dumb Waiter"
410:Theatre Royal Haymarket
1680:Plays by Harold Pinter
1438:The Quiller Memorandum
549:led a play reading of
391:Hampstead Theatre Club
128:Hampstead Theatre Club
1485:The Proust Screenplay
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451:Harold Pinter Theatre
430:In 2013 a revival at
185:is a one-act play by
16:Play by Harold Pinter
1299:Trouble in the Works
863:. (Official site of
826:. (Official site of
710:Tulaine Drama Review
490:The Oxford Playhouse
247:Pinter's writing in
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1532:The Heat of the Day
1324:That's Your Trouble
1292:The Black and White
1237:The New World Order
992:. 15 January 2009.
545:In April 2021, the
403:Royal Court Theatre
354:Performance history
1627:Honours and awards
1578:The Dreaming Child
1478:Langrishe, Go Down
1454:The Birthday Party
1350:Dialogue for Three
1050:The Birthday Party
986:Barnes & Noble
933:Andrea LeVasseur.
914:on 10 October 2010
907:The New York Times
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285:The Birthday Party
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337:and sharper than
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189:written in 1957.
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912:the original
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527:In 2012 The
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43:Please help
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1690:Two-handers
1422:The Servant
1406:Screenplays
1266:Celebration
1090:A Night Out
615:, starring
609:made-for-TV
607:directed a
588:, starring
582:made-for-TV
580:directed a
504:as Ben and
476:as Ben and
474:Alec Newman
461:as Ben and
455:Jamie Lloyd
442:as Ben and
423:as Ben and
227:dumb waiter
1675:1957 plays
1669:Categories
1563:Party Time
1330:That's All
1243:Party Time
1105:The Dwarfs
981:SparkNotes
963:References
834:1 December
753:2 December
506:Toby Jones
492:presented
478:Shane Zaza
459:Danny Dyer
440:Clive Wood
211:dumbwaiter
106:Characters
96:Written by
86:Actors in
53:Wikisource
1570:The Trial
1371:Precisely
1356:Umbrellas
1343:Applicant
1336:Interview
1250:Moonlight
1175:Monologue
1168:Old Times
1152:Landscape
1128:Tea Party
1120:The Lover
654:In Bruges
629:Basements
621:Tom Conti
559:Play Date
512:Liverpool
425:Lee Evans
389:, at the
359:Frankfurt
319:Reception
203:semantics
61:July 2022
49:Wikiquote
36:contains
1508:Betrayal
1446:Accident
1190:Betrayal
1042:The Room
940:Allmovie
640:The Room
634:The Room
508:as Gus.
488:In 2004
465:as Gus.
446:as Gus.
427:as Gus.
386:The Room
1540:Reunion
1516:Victory
1160:Silence
988:, n.d.
951:27 June
918:27 June
871:27 June
625:WABC-TV
603:1987 –
576:1985 –
540:Toronto
523:Chicago
438:, with
397:, with
234:Setting
199:hit-men
164:Setting
149:English
1597:(2007)
1594:Sleuth
1589:(2000)
1581:(1997)
1573:(1993)
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1527:(1984)
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484:Oxford
379:London
371:Malibu
303:Comedy
137:
1612:Works
1363:Night
1034:Plays
666:Notes
500:with
457:with
243:Style
221:Title
154:Genre
953:2008
920:2008
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836:2013
755:2013
648:Film
619:and
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288:and
225:The
197:Two
193:Plot
990:Web
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598:BBC
272:'s
111:Gus
109:Ben
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