The Caretaker

The Caretaker by Harold Pinter
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The Caretaker

It was with this play that Harold Pinter had his first major success, and its production history since it was first performed in 1960 has established the work as a landmark in twentieth-century drama. The obsessive caretaker, Davies, whose papers are in Sidcup, is a classic comic creation, and his uneasy relationship with the enigmatic Aston and Mick established the author's individuality with an international audience.

About the Author


English playwright, poet, and political activist Harold Pinter was born on October 10, 1930, in London's East End. From childhood he was interested in literature and acting. He studied at both the Royal Academy of Dramatic Arts and the Central School of Speech and Drama. Pinter published his first poems in 1950. He worked as a bit-part actor in a BBC Radio program and also toured with a Shakespearean troupe. Pinter has written over 30 plays, achieving great success internationally. He has also directed several of his dramas. Pinter was married to actress Vivien Merchant from 1956 to 1980, before wedding biographer Lady Antonia Fraser. From his first marriage he has a son who is a writer and musician. Pinter has won numerous prestigious literary prizes in poetry and theatre. He was awarded the Hermann Kesten Medallion for outstanding commitment on behalf of persecuted and imprisoned writers. He has been granted honorary degrees at universities in England, Scotland, the United States, Bulgaria, Ireland, Italy, and Greece. In 2005, Pinter received the Nobel Prize for Literature. He died from cancer on December 24, 2008 at the age of 78.

Details of Book:

The Caretaker

  • Book:

    The Caretaker

  • Author:Harold Pinter
  • ISBN:0571160794
  • ISBN-13:9780571160792, 978-0571160792
  • Binding: Paperback
  • Publishing Date: 1991-03-04
  • Publisher: Faber and Faber
  • Number of Pages: 88 pages
  • Language: English
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Book Reviews of The Caretaker
Technique Without Inspiration in This One
"The Caretaker" (1960) has some of Pinter's typical Absurdist features, but this three-act three character play seems less interesting, less involving, more rambling and talky than his other early work. It has the same claustrophobic seedy one-room he has used before, but his three people don't make contact with us and involve us. Two brothers, Aston and Mick, seem to share a room or a house. Mentally-challenged Aston brings home Davies, a derelict, and sets him up as a quasi-caretaker of the property. Davies has trouble with his inadequate shoes, just as does a character in "Waiting for Godot" by Beckett, Pinter's mentor
We get so much talk, jabbering and background information from Davies and Aston that we eventually tire of it. Aston had been institutionalized because of his mental condition and been given shock treatments. At one brief moment of the play, Davies suggests he has been confined in such a place. Sinister acting Mick menaces and threatens Davies so Davies pulls a knife to protect himself.
In other plays Pinter was able to get audience or readers interested in the characters because of their quirkiness and the feeling of puzzles within enigmas, but in this play he bores us because he lets it go on too long. The set is depressing which only emphasizes the tedious and stultified nature of the characters.
Each of the three seems to be a dodgy type. Mick seems to be unsavory, Davies is shiftless and seems on the run, and Aston is not playing with a full deck. Davies and Aston tell a lot about themselves; Mick remains more of a mystery. They all talk in circles and repeat things. At times Mick talks like a catalog of interior design.
Mick, too, engages Davies as a caretaker, but then they have a territorial squabble. The tables are turned. Later Davies tries to assert himself and throw out Aston.
A very humorous attack is launched by Mick who claims that Davies said he was an interior decorator. Then both brothers want Davies out.
The Pinteresque pauses that he became famous for seemed to begin in this play. Davies says to Aston, "You must be off your nut." Exits and entrances are weird in this play.
In this play Pinter goes awry, with all technique and little inspiration.
Pinter as the poor bloke's Beckett
With this play which was first produced in 1960 Pinter became a well- known and admired dramatist. It is still considered one of his finest plays. It is the story of three character, Davies, an elderly wanderer who has been saved by the middle- aged Aston and brought into the home he shares with his brother Mick. The three characters in the course of the play talk at length and reveal their own respective characters. There is a sense of menace and threat in the relationships- and there is much focusing on trivialities of everyday life. The play in short is Pinteresque though it static quality, absurdity and illogic make it somewhat difficult to get a hold on.
There are fine, and at times funny passages in the work. The down- and-out Davies who also goes by the name of Jenkins is frequently taunted by the younger brother Mick. Mick dreams of the apartment being elaborately restored. The middle brother Astin who has undergone shock treatments is often fragmented and broken. The play is filled with attacks on the major characters. .
I have never been a big fan of the Theatre of the Absurd (Beckett, Ionesco, Pinter) and when I do like it it is because of the beautiful, lyrical passages which in my feeling Becket particularly excels in. For me Pinter is not bad, but far indeed from the status of writer whose works we would like to return to again and again.
Will There Ever Be A Caretaker?

Harold Pinter was born in London in 1930. In 1995 he won the David Cohen British Literature Prize, awarded for a lifetime's achievement in literature.

On 30 May 1960, the play was presented by Michael Codron and David Hall at the Duchess Theatre, London, with the following cast:
Mick, a man in his late twenties: Alan Bates
Aston, a man in his early thirties: Peter Woodthorpe
Davies, an old man: Donald Pleasance

This is the story of three men. Mick is the proprietor of a shabby house in West London. Aston, his brother, is always busy with something but never accomplishes anything. Finally there is Davies, some kind of a hobo, adopted by Aston who gives him a place to sleep and - after a while - asks him if he wants a job as the caretaker. Davies is very reluctant and finds petty excuses to postpone the decision of becoming the caretaker.

As the story unfolds, you ask yourself if anything will ever change and if anything important will ever happen ('No Exit' by J.P.Sartre comes to mind: four persons who will have to suffer each other for Eternity).

The most impressive part of the play is the monologue by Aston in which he tells how he was treated with electro-shocks when he was a kid. This is one of the most gruesome parts I know in modern theatre.

A final remark: when you read (or listen to) this play, you will soon find out that one of the most attractive parts of this play is the very lively and humorous dialogue
great suspense
Thrillingly suspenseful. The pages just seem to keep coming with excitment. Gunn henderson was a great character. The caretaker himself was a mastermind amazing character. Loved every minute of it. Only thing wrong is getting what you want!
Source - Amazon
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