IAF cinematheque to review Royal National Theatre’s “No Man’s Land”

TEHRAN- The Cinematheque of the Iranian Artists Forum (IAF) is scheduled to screen a recorded stage performance of the Royal National Theatre’s adaptation of British playwright and screenwriter Harold Pinter’s play “No Man’s Land” on Wednesday.

Following the screening, there will be a review session featuring Iranian theater critics Abbas Ghafari and Mohammad Najari.

Ian McKellen and Patrick Stewart lead the cast in the production, directed by Welsh actor and director Sean Mathias.

In “No Man’s Land”, set in the 1970s, the story unfolds in the drawing room of Hirst, an affluent, aging man. Hirst begins an evening of heavy drinking with an unnamed peer, who introduces himself as Spooner, a disheveled and talkative self-proclaimed poet. As they drink, Spooner’s incessant rambling becomes increasingly confrontational, mocking Hirst’s masculinity and referencing his wife. Hirst suddenly declares, “No man’s land…does not move…or change…,” before collapsing and crawling out of the room.

When Hirst’s younger domestic workers, Foster and Briggs, enter, they aimlessly chat and question Spooner, who now assumes a more subdued role. Hirst soon returns, struggling to recollect a recent dream involving someone drowning. His mental state deteriorates further, leading to more incoherent musings about a photo album that contains his “true friends.” Spooner unexpectedly claims to have been the one drowning in Hirst’s dream, prompting Hirst to collapse again. Spooner rushes to assist Hirst, dismissing the other men, while they assert their responsibility to protect Hirst from “men of evil.” The act ends with Foster turning off the lights, creating an oppressive blackout.

Later, Spooner attempts to leave but finds the door locked. Hirst’s manservant, Briggs, enters, ignoring Spooner’s inquiries. Hirst soon arrives, mistaking Spooner for an old friend from their supposed Oxbridge days, leading to bizarre nostalgic conversations riddled with absurdity and insinuations, including Spooner’s accusation of Hirst having an affair with his wife. As they engage in drinking and reminiscing, a complex dynamic develops with Spooner expressing both pity and a desire for employment from Hirst. 

Ultimately, Hirst’s desire to change the subject proves futile, as he reflects on his past. The play concludes with Spooner’s haunting repetition of Hirst’s earlier declaration, emphasizing the play’s themes of memory, isolation, and the passage of time as the lights fade to black.

SAB/