For free real time breaking news alerts sent straight to your inbox sign up to our breaking news emails Sign up to our free breaking news emails
L ife can only be understood backwards, but it must be lived forwards”: Kierkegaard’s statement – shaped in just the right reverse sequence – has the undeniable ring of a profound truism. But it needs to be tweaked for 21st century consumption. For, by now, a surprisingly large and diverse body of art has amassed in which people are shown living their lives backwards – to arresting and revealing effect. Harold Pinter ’s Betrayal (1978) is, by general consent, the pre-eminent play in this category. A revival just opened is directed by Jamie Lloyd and starring Tom Hiddleston , who is principally famous for TV’s The Night Manager and for portraying Loki on the big screen.
It’s the actor’s first stage appearance since he played Hamlet for Kenneth Branagh in a fundraising production for the Royal Academy of Dramatic Art. The drama school’s theatre has a capacity of 160 seats. The run was three weeks. The tickets had to be issued by ballot. If appreciative punters fell on the production like fiends, it was a very select minority. By comparison, this revival of Betrayal is, as they say, anybody’s. Well, up to a point. The production is at the Harold Pinter Theatre, capacity 796. There are 26 performances. So go figure. All the same, this is bound to be the hottest of tickets.
The cast for the three-hander also boasts Charlie Cox and Zawe Ashton . And the production is the coda to the remarkable six-month Pinter season by Lloyd. It has had succulent casts throughout and a blessed lack of acolyte preciousness. I’ve been at Pinter first nights at some other theatres where the hushed reverence of the faithful has left me near-comatose with nerves lest my interpretive faculties failed me. Lloyd deserves great credit; his season will have won Pinter a lot of young admirers; what you lose in terms of the nosebleed exclusivity of the Rada Hamlet , you gain in the irresistible combination of a rough-and-ready vibe in the auditorium and fierce finesse onstage.
Hiddleston plays Robert, a publisher and the best friend of literary agent Jerry with whom he has close professional ties. The pair are close in other, less recognised, ways too. For seven of the play’s nine scenes, Jerry is having an adulterous affair with Robert’s wife, Emma. The affair runs its course in reverse chronological order. The first scene is set in 1977, two years after the affair ended, in a pub where the former lovers are having their first meet-up alone since the split. It ends in 1968 with Jerry’s (possibly) drunken, flamboyant declaration of love for her. The setting is her shadowy, lamp-lit bedroom where he has been lying in wait for her. Robert, her spouse, sizes up the situation when he wanders in. But instead of expressing anger, he seems to accept Jerry’s florid assurance: “I speak as your oldest friend. Your best man.”
Pinter, who based the piece on his own affair with Joan Bakewell, the author and broadcaster, said that “when I realised the implications of the play I knew there was only one way to go and that was backwards”. By reversing the chronology, virtually everything is seen in the shadow of disillusion and treachery is foretold. Pinter sensitises us to the labyrinthine, corrosive nature of betrayal. Our vastly superior knowledge may occasionally make us laugh at the characters. But you’d want to seek psychiatric help for anyone who gurgled with mirth throughout. Just as you would for anyone who kept up a steady stream of tears at the play’s silting accumulation of pain.
40 of the greatest plays ever writtenShow all 40 1 /4040 of the greatest plays ever written 40 of the greatest plays ever written Life is a Dream (1635), Calderon de la Barca Calderon's play is one of the masterpieces of the Spanish Golden Age. The predicament of the young prince, Segismundo, calls to mind the Chinese sage's story of the man who dreams he is a butterfly and wakes to wonder whether he is actually a butterfly dreaming he is a man. This youth is at the mercy of political fluctuation: he's been imprisoned in a dark tower from birth because of a horoscope that predicted he would usurp the throne. Then, when there are anxieties about the succession, his father has him drugged, brought to the Palace, and bafflingly treated like a prince. A poetic piece that tackles deep metaphysical, political matters in a dazzlingly theatrical way. PT
JOHAN PERSSON
40 of the greatest plays ever written Hamlet (1599-1602), William Shakespeare A play of astonishing breakthroughs. There had been plenty of soliloquies in Elizabethan drama beforehand. But no-one had ever talked to an audience like Hamlet. He doesn't just let you into his confidence, he lets you into his consciousness; the best portrayals make you feel that you are soul-to-soul with this figure. It's his capacity for searching introspection that gets in the way and disqualifies Hamlet as a revenge hero: he's rather wonderfully miscast. Hamlet is brilliantly self-reflexive, constantly probing its own theatricality. The conscience of Claudius is tested by a play-within-a play; Hamlet tries to fool the court by assuming an “antic disposition” that may at times waver into authentic madness. The piece is like a painful meditation on the contradicting meanings of the verb to “act” – to feign and to intervene. Inexhaustible. PT
Rex Features
40 of the greatest plays ever written Machinal (1928), Sophie Treadwell Feminism and expressionism collide in US playwright Sophie Treadwell's extraordinary vision of a mechanised, dehumanising metropolis. We feel the nerve-shredding racket of modern existence – described as “this purgatory of noise” – assaulting the Everywoman character at every stage as she makes her descent to doom. She's a stenographer, a sensitive cog in the machine who is blackmailed by her mother into marriage with a boss who revolts her, and ends up condemned to the electric chair for murdering him. Treadwell's nagging dialogue, with its jangly staccato and syncopated telegraphese, uncannily anticipates Harold Pinter and David Mamet. Her cry against institutionalised misogyny – “I will not submit” – resounds down the ages. PT
Johan Persson
40 of the greatest plays ever written The Government Inspector (1836), Nikolai Gogol In Gogol's great phantasmagoric farce, an impecunious clerk newly arrived from St Petersburg is mistakenly assumed to be the eponymous inspector by the corrupt mayor and officials of this provincial town. Panic drives these paranoid locals to project a false identity onto this stranger. That would have been a good enough joke. Gogol, though, gives it an inspired, twist. His penniless nonenity turns out to be driven by an equivalent dread of being recognised as one of life's losers. So when he twigs to their exploitable mistake, he treats their absurd respect (not to mention their bribes) as long-overdue recognition of his true worth and becomes airborne with grandiosity. It's the interlocking lunacies that generate the comic delirium in this Russian masterpiece. PT
40 of the greatest plays ever written Old Times (1971), Harold Pinter One of Pinter's most haunting and unnerving pieces. A married couple, Kate and Deeley, play games of power and possessiveness with the wife's former flatmate, Anna, who comes to visit for the first time in 20 years. The piece is horribly preoccupied with the use people make of selective – and conceivably invented – memories as weapon or way of gaining the upper hand. We mint memories, in this understanding of it, in response to the psychological needs of the moment: “There are things I remember which may never have happened, but as I recall them.” Deeley is threatened by Anna's youthful relationship to his wife and strongly attracted to the newcomer. There’s a wonderful evocation of rackety London when the girls lived as secretaries, but the uneasy comedy of all this turns lethal. PT
Geraint Lewis
40 of the greatest plays ever written The Changeling (1622), Thomas Middleton / Williams Rowley The best Jacobean tragedy outside Shakespeare, The Changeling also seems to anticipate film noir. The heroine hires a shady type to bump off her fiance. This villain has a facial disfigurement, but the piece is alert to how perversely attracted we are to what repels us. The assassin demands her virginity as his blood-money and the slide into shadowy corruption becomes inexorable. There is a subplot in a madhouse that is designed as a distorted mirror of the main action in its obsession with disguise, lunacy, and sex. PT
Shakespeare Globe
40 of the greatest plays ever written Intimate Apparel (2003), Lynn Nottage This Pulitzer-winning American playwright explores the history of her great-grandmother in early 20th century New York. Esther is a black seamstress – unmarried and illiterate – who sews ravishingly beautiful garments for other women to wear on their wedding nights. She gets what could be a last chance of happiness but it's destroyed in circumstances that are never sentimentalised. The sensual feel of fine fabric (her means of supporting and expressing herself) is conveyed with gorgeous descriptive power. Intimate Apparel manages to be uplifting without ever losing its irreverent humour. PT
40 of the greatest plays ever written Antigone (441BC), Sophocles Sophocles's play is still the most powerful ever written about the conflict between our obligations to the state and our duty to the ties of kinship. Antigone defies her uncle Kreon, the new ruler of Thebes, by burying her brother Polyneikes. He had brought an army against his native city and Kreon, in these politically volatile times, wants his corpse left for the dogs as an exemplary desecration. The philosopher Hegel saw this as the quintessence of true tragedy: not a conflict between good and evil, but between right and right. In fact, productions nowadays tend to come down in favour of Antigone and her self-sacrificing intransigence. PT
EPA
40 of the greatest plays ever written One Man, Two Guvnors (2011), Richard Bean Richard Bean had the inspired idea of transposing Goldoni's 18th century commedia dell'arte romp from Venice to Brighton in 1963. Our jack-the-lad hero – frantically trying to hold down a pair of jobs, unbeknownst to either boss – is a failed skiffle player. The complications are deliciously warped. One character does a bunk to Brighton disguised as her psychotic twin brother who has been bumped off by her posh twit of a boyfriend in a gangland brawl. Still with me? The dialogue is naughty and knowing, but there's a terrific innocent joy to the physical clowning which peaks in the delirious sequence where our hero has to dish up lunch to the two masters at the same time. PT
Johan Persson
40 of the greatest plays ever written Making Noise Quietly (1986), Robert Holman A supreme example of how a writer can make a play by putting together a triptych of miniatures. Holman was brought up in the pacifist tradition and Making Noise Quietly looks at the long-range effects of war in three chance encounters. In the first, set in a Kent field in 1943, a northern Quaker and an uninhibited London aesthete discuss their reasons for not fighting. In the second, a naval officer arrives to tell a mother of her son’s death in the Falklands War. The third is set in the Black Forest in 1986. An English private, gone AWOL with his disturbed eight-year-old stepson, come into testing collision with a rich German businesswoman who survived the Holocaust. There's a stunning scene in which she draws the little boy out of his dogmatic mutism by her repeated, stern insistence that he says “thank you”; it's uplifing in the end but it's not pretty. Writing of rare sensitivity and cumulative power. PT
Johan Persson
40 of the greatest plays ever written Private Lives (1930), Noel Coward Though he described it as “the lightest of light comedies”, Private Lives is the Noel Coward play that one would undoubtedly preserve for posterity. He wrote it as a vehicle for himself and Gertrude Lawrence, with indecent speed. The play centres on two divorcees who, five years after their split, bump into each other on adjacent hotel balconies while on the first night of honeymoons with their new spouses. An elegantly contrived coincidence followed by a pattern of cheekily reversed expectations: most comedies end in marriage; this one begins with nobbled nuptials as the couple unceremoniously ditch their second partners and abscond to Paris together. Elyot and Amanda are the kind of flighty egotistical couple that can neither live together nor apart. Anti-romantic comedy soaked in sex (and romance): “Don't quibble Sybil.” PT
Getty
40 of the greatest plays ever written Angels in America (1990-93), Tony Kushner Subtitled “A Gay Fantasia on National Themes”, Tony Kushner's astonishing two-part play is set in the AIDS crisis of the mid-1980s during the right wing administration of Ronald Reagan. The word AIDS was never mentioned by the President, and the struggle to find a cure was hampered by a lack of government recognition. Kushner retaliated by putting gay men centre stage in an epic that shows them fighting to forge their private and public destinies. This is, however, very far from a conventional “issue” play in its glorious ambition. The piece rages from Antarctica and the damaged ozone layer to a baroque heaven that god has abandoned. Prophetic angels crash through ceilings. There are “mutual dream” sequences where people wander in and out of each other' fantasies. The presiding demon of the piece is one of drama's greatest monsters: the incorrigible and shameless Roy Cohn was a real-life Republican fixer (and mentor to the young Donald Trump). PT
Helen Maybanks
40 of the greatest plays ever written Happy Days (1961), Samuel Beckett A middle-aged woman is buried in a mound of earth first up to the waist then, after the interval, up to the neck. It is a sight that has never lost its capacity to startle. Beckett's Winnie prattles away dogged with optimism (“This will have been another happy day”) in a loquacious attempt to stave off hysteria and despair at her encroaching fate. Partly irritating, partly heroic, she brings forth a dotty lyrical monologue that's threaded with genteel half-remembered wisps from the “immortal” classics. Peter Hall, who directed Peggy Ashcroft in the part, rightly pointed out that “Beckett's theatre is as much about mime and physical precision as it is about words”. Except that his texts are great and this one is superb beyond belief. To quote Winnie: “What is that unforgettable line?” PT
Johan Persson
40 of the greatest plays ever written Long Day’s Journey into Night (1940), Eugene O Neill When O'Neill described Long Day's Journey as a “play of old sorrow, written in blood and tears”, he was barely exaggerating. This enormous autobiographical drama is so raw and unremitting in its revelations about his dysfunctional Irish-Catholic family that the author left instructions – mercifully disobeyed by his widow – that the play was not to be performed until 25 years after his death. You can understand the trepidation. Long Day's Journey plunges deep into the tortured heart of the Tyrones – James, the acclaimed actor who sold out to commercial success, his wife Mary who has recently relapsed into morphine addiction, and their two sons. When the play is under the baton of the right director, it's the like listening to the recapitulations in a great piece of music. You emerge drained but in a state of elating catharsis. PT
Hugo Glendinning
40 of the greatest plays ever written The History Boys (2004), Alan Bennett Hector wants to teach boys knowledge that will last them a lifetime. But the headmaster has become obsessed with government league tables and has hired Irwin to teach them glib, exam-passing techniques. That's the clash at the heart of Alan Bennett's hugely popular hit. It's set at a Yorkshire grammar amongst a group of clever sixth-formers. As with a lot of Bennett's work you can discern a revue-like structure in the play's glorious string of skits, gags, songs and sheer elating silliness. But it's also a brilliant portrait of a maverick teacher. The scene in which the doomed Hector analyses the Hardy poem “Drummer Hodge” with his pupil Posner is unsurpassed in drama as an example of humane teaching. Gay, unhappy Posner also has the play's best joke: “I'm a Jew. I'm small. I'm homosexual. And I live in Sheffield. I'm fucked.” PT
Geraint Lewis
40 of the greatest plays ever written Faith Healer (1979), Brian Friel Frank Hardy, an itinerant Irish faith healer, his wife, and his manager tell four monologues that contradict each other, leaving the audience to question truth and memory, lies and storytelling. Frank struggles to understand his own “gift”, and how his ability to cure comes and goes; Faith Healer is also a parable about the artist and his inspiration. The play foundered when it opened on Broadway, but has since been recognised as a modern classic: in a good production, there’s a trembling sort of power to it. Friel’s writing can be rhythmical, incantatory, but it’s also gorgeously subtle. Although Friel throughout maintains a – crucial – ambivalence, the play attains a sort of transcendent grace of its own. HW
Johan Persson
40 of the greatest plays ever written John (2015), Annie Baker Plays by this American writer tend to be long, slow – and strangely riveting. It’s hard to pin down what exactly makes John so bewitching. It is set in a kitschy, tat-filled Gettysburg guesthouse, where a fighting young couple interact with the dotty landlady and her blind but visionary friend. The house seems haunted: creepy dolls and pianos start playing themselves. But it’s also haunted by history (it was a civil war hospital), and by the older women’s memories of love, ghosts, and their own mystical experiences. All of this is a little spooky, but also rather emotionally stirring. Baker is also super sharp on the millennial couple’s dying relationship, which opens out into a look at how it’s often women who have to prop up men’s myths, to feed their needy hunger. HW
Stephen Cummiskey
40 of the greatest plays ever written A Streetcar Named Desire (1947), Tennessee Williams From “I have always depended on the kindness of strangers” to “Stellaaaaaa”, Williams’s play has entered the popular consciousness. As well it might: there’s something eternal in its themes of loss, ageing, and the lies we live by. Fear and lust rub up against each other, sweatily; few other writers have captured the heat of the South like Williams, and this is the playwright at his most atmospheric. Blanche DuBois – the deluded southern belle who shacks up with her sister and her macho, abusive husband – is a summit part for an actress, and everyone from Vivien Leigh to Tallulah Bankhead, Cate Blanchett to Gillian Anderson have had a go. HW
40 of the greatest plays ever written The Oresteia (458 BC), Aeschylus The only surviving full trilogy of Greek tragedies, through Agamemnon, The Libation Bearers, and The Eumenides Aeschylus traces the impact of violence and revenge down a Royal family, throwing questions of justice and duty into sharp relief. To win the Trojan war, Agamemnon sacrificed his daughter; the trilogy opens with a play in which his wife Clytemnestra kills him to avenge her daughter’s death. In Libation Bearers, Clytemnestra’s son Orestes murders her in retaliation (if Antigone is a tragedy because it’s a conflict between right and right, this is perhaps a clash between wrong and wrong). The cycle is broken in Eumenides, where the gods form a court in which to try Orestes. It’s juicy, meaty, high-octane stuff – and has been given era-defining productions both in Peter Hall masked version at the National in 1981, and in Robert Icke’s crisp modern adaptation in 2015. HW
Manuel Harlan
40 of the greatest plays ever written Ma Rainey's Black Bottom (1989), August Wilson Part of the playwright’s cycle exploring the African-American experience in 20th century American – a play for each decade – this chapter is set in a Chicago recording studio in 1927. Ma Rainey, the “mother of the blues”, is slow to show up to record some tunes. Instead, we watch her band kill time and spar with one another. Although it all lands light as a butterfly, the script is stinging on subjects such as ambition and race relations. Ma Rainey, when she arrives, proves worth waiting for: an immense, haughty presence. There’s a twist towards the end, giving the play punch – plus the tunes are great, of course. HW
Johan Persson
40 of the greatest plays ever written A Doll’s House (1879), Henrik Ibsen Ibsen wrote great women: we could have gone for Hedda Gabler. But A Doll’s House is one of those plays with a wide significance: written in 1879, it’s a proto-feminist text. When our troubled heroine Nora slams the door at the end of the play, it’s not just on her patronising husband, but on the whole of The Patriarchy. The play shocked some in its portrayal of a woman made so desperate by her suffocating domestic situation that she abandons her children as well as her husband, choosing freedom and self-actualistion over the prison of the home. Of course, things have changed for women since, but this exceptionally controlled play still unfolds perfectly – and that slam still resonates. HW
JOHAN PERSSON
40 of the greatest plays ever written The Seagull (1895), Anton Chekhov You could make a case for any of Chekhov’s plays really (we nearly went for his early, entertaining Platonov, just to be different) but the lucidity of The Seagull wins out. It’s got more plot, a sliver less ennui, than some of his others: a young man, Konstantin, longs to be a playwright; his narcissistic mother Arkadina – an actress – is wrapped up in her new boyfriend, Trigorin, a successful novelist. He in turn romances Nina, Konstantin’s girlfriend and an aspiring actress. It’s not much of a spoiler to say none of their dreams exactly come true, life proving endlessly, exquisitely disappointing. The Seagull is a mordant comedy – scenes skewering both Arkadina’s monstrous ego and her son’s attempts at avant garde art are some of the best bits of theatre-about-theatre ever. But there’s also an unbearable tenderness to the play’s portrayal of young love, hope, and idealism. HW
Ben Carpenter
40 of the greatest plays ever written Mother Courage and Her Children (1939), Bertolt Brecht Few, if any, playwrights of the 20th century had as much of an impact on theatre as Brecht: he wanted art to be a political tool rather than escapist entertainment, but also revolutionised theatrical form and style, doing away with naturalism. But it can mean his “epic theatre” is still associated with didacticism, rather than drama. Not so Mother Courage, though, which is epic in both senses: written after Hitler invaded Poland, but set during the Thirty-Years' War, it is a potent story of one mother’s attempts to profit from conflict, and the huge cost war always takes in the end. HW
Scott Rylander
40 of the greatest plays ever written Medea (431BC), Euripides Based on the Greek myth where Medea kills her children in order to get revenge on her unfaithful husband, this tragedy has lost none of its force – or power to shock. But the text allows more sympathetic readings Medea too, as a woman fighting for justice in an unjust world. With a monumental lead part, and a chorus who react and comment on the action, the play has always been one of the most popular of the Greek tragedies. Taut and tense, you see the horror coming but feel desperately compelled to look. HW
Rex Features
40 of the greatest plays ever written Frozen (1998), Bryony Lavery The mother of a murdered child. Her imprisoned paedophile killer. A criminal psychologist attempting to understand what drove him to do it. Through first monologues, and then dialogue, this modem classic has much to say about the extremes of human anguish, but also our capacity for change, and for forgiveness. It’s a dark and thorny work, but a deeply humane one too, by a prolific British writer at her best. HW
Johan Persson
40 of the greatest plays ever written The Importance of Being Earnest (1895), Oscar Wilde Has there every been such a reliably delightful comedy? The improbable plot of tangled engagements, lost handbags, invented wicked relatives, and real monstrous aunts runs like clockwork. There are innumerable blissful one-liners, the characters are delicious upper-class twits, and at every turn Wilde has a fine old time pricking societal niceties. It’s frothy fun, and funny froth, and always invites larger-than-life performances. Being so very bankable has led to Wilde’s play certainly being over-staged and it now feels thoroughly un-urgent – and then it makes you laugh all over again. HW
Anthony Devlin/PA
40 of the greatest plays ever written Bent (1979), Martin Sherman Sherman’s harrowing play pulls the rug from under you. You invest in the relationship between Max and Rudy, a decadent gay couple in Berlin in 1934 – but after the Night of the Long Knives they flee, before being caught and sent to Dachau. On the way, Max’s desire to survive produces sickening betrayal. He pretends to be Jewish rather than gay, but in the camp meets Horst, a man who reveals the honour in being true to one’s self. There’s an astonishing scene where – forbidden to touch – they have sex purely through words. Ian McKellen originally played Max, but Richard Gere and Alan Cummings have also taken on the role in what is now seen as seminal gay text – one that proves truth and love may flower in the most horrific, hopeless circumstances. HW
40 of the greatest plays ever written Our Country’s Good, Timberlake Wertenbaker (1988) Ah, the transformative power of theatre… This familiar idea is irresistibly proven by Wertenbaker’s oft-revived play, based on a true story about a group of convicts in an Australian penal colony who put on a production of George Farquhar’s The Recruiting Officer. It has fun sending up the pretensions of theatre, but ultimately uses it as means for talking about empathy, communication, and understanding, as relations between the reviled prisoners and the cruel officers thaw. A direct piece of storytelling with a huge heart. HW
40 of the greatest plays ever written The Effect (2012), Lucy Prebble Lucy Prebble made her name with ENRON, charting the hubris of the financial giant, but while it may be less flashy, The Effect is still dazzlingly good. It has, at its heart, a question we’d all like to know the answer to: what is love? The play follows two volunteers in a clinical trial for a new anti-depressant; when they fall for each other, they wonder whether their love is “real”, or a by-product. And given all interactions in the brain are just chemical, does it even matter? The idea of what’s really real and what’s really romantic, what happiness is and what function unhappiness might have, are turned over by Prebble’s own very sharp mind. Her characters are fun to spend time with, her dialogue is snappy, but she digs deep too, into both scientific theories and human emotions, taking us from the grey lows of depression to the technicolour highs of new love. HW
Geraint Lewis
40 of the greatest plays ever written Jerusalem (2009), Jez Butterworth It can be hard to separate this play from an animating original performance by the great Mark Rylance, who played Johnny “Rooster” Byron – a wild misfit who lives in a caravan in the woods in rural England, gathering local young people to him like some kind of drink-and-drug-fuelled pied piper. Such a summary might sound tawdry, yet set on St George’s Day and ripe with Rooster’s storytelling, it has a mythic, mystical quality. A state-of-the-nation show powered by anti-establishment brio, it also precisely captures a contemporary rural community (very sweary, and very funny). Jerusalem became a ridiculously big hit, with audiences camping out round the theatre for tickets. But a recent revival suggests the play can still crow, whoever plays Rooster. HW
Simon Annand
40 of the greatest plays ever written An Oak Tree (2005), Tim Crouch What makes a great play? A lot of critics, academics, and playwrights themselves will point to form matching content. On this, Tim Crouch’s glitteringly clever play really delivers – while also being extremely moving. A stage hypnotist encounters the father of a girl he killed in a car accident. The father truly believes his daughter has been transformed into oak tree. At every performance, the father is played by an actor who’s never seen or read the play before; they are given a script or fed lines by – yes – the hypnotist (played initially by Crouch himself, also acknowledging his “real” role as the playwright). The actor is transformed before us; we accept that they are now the father. An Oak Tree has a radical honesty which has made it hugely influential among younger generation. We always know theatre isn’t “real” – by playfully acknowledging that, the emotional impact is actually heightened. It’s a magic trick where understanding the trickery only makes the magic more real. HW
Nina Urban
40 of the greatest plays ever written Sizwe Bansi is Dead (1972), Athol Fugard Athol Fugard came to see that the righteous anger of didactic anti-apartheid drama was not as effective as the subversive laughter of the black townships when it came to getting across the harshness of the conditions there. Certainly, there is nothing moralising or solemn about this piece which was developed by Fugard from improvisations with the great John Kani and Winston Ntosha who first performed it. A mischievous shaggy dog story, it pulls the audience into an atmosphere of good-humoured sociability. Sizwe is a work-seeker in Port Elizabeth who can't get a job because he doesn't have a permit. It turns out that he has found a dead man's pass book and has substituted his own photo, killing off Sizwe Bansi. A deceptively light and humane play that outlasts the apartheid era. PT
40 of the greatest plays ever written Purgatory in Ingolstadt (1924) / Pioneers in Ingolstadt (1928), Marieluise Fleisser Marieluise Fleisser, the author of these sorely neglected plays, was the lover, protégée, and victim of Bertolt Brecht, and her subject was the lower Bavarian city of her birth. The plays use a bold collage technique instead of linear narrative, and she had penetrating insights into its vicious pack mentality and conformist claustrophobia. In Purgatory, she evokes a stifling Catholic ethos: we see two very different rebels (one girl seeks in vain for an abortion) who suffer the humiliation of having to crawl back to the pack. Brecht effectively hijacked her second play Pioneers (about the contact between the inhabitants and a visiting squad of bridge-builders). He imposed overt anti-militarism and sensationalising sex, and Fleisser was denounced as a traitor to German womanhood. Stephen Daldry and Annie Castledine directed a superb version of these plays at the tiny Gate Theatre in 1991. Since when, nothing. It's high time Fleisser was given her due. PT
40 of the greatest plays ever written Copenhagen (1998), Michael Frayn Tempting as it is to include Michael Frayn’s sublimely funny backstage farce, Noises Off, the more serious Copenhagen just pips it. It imagines a real meeting between nuclear physicists, the Dane Niels Bohr and German Werner Heisenberg, in Copenhagen in 1941, to discuss developments that will lead to the atomic bomb. Then he reimagines the meeting, and reimagines it again – after all, no-one really knows what happened. Was Heisenberg warning his old friend of the Nazis’ advances in nuclear weapons? Hoping for a mutual pact to prevent the atomic bomb? Seeking absolution? Looking at the unreliability of memory, the structure of Frayn’s play is cleverly animated by the scientific ideas his characters discuss: Heisenberg’s uncertainty principle is the basis for its dramatic form. A big hit when it opened at the National, it went to the West End, Broadway – and wound up on TV, starring Daniel Craig. HW
Conrad Blakemore
40 of the greatest plays ever written Blasted (1995), Sarah Kane This play was a theatrical explosion. Sarah Kane’s debut, written while she was a student, features a nasty tabloid journalist holed up in a Leeds hotel with a much younger woman, whom he sexually abuses. The world of the play – and its conventional theatrical form – is then blasted apart becoming a war zone: a soldier bursts in, explosions go off, and short scenes of grim horror unfold (stage directions include “he eats the baby”). Famously described as a “disgusting feast of filth”, Blasted was seen by critics as a puerile attempt to shock, and anointed as the classic example of provocative, Nineties in-yer-face theatre. But it’s since become canonical. It doesn’t seem to grow old: Kane’s writing has a horribly vivid energy, and the atrocities it depicts, depressingly, take on fresh resonance for each generation that discovers it. HW
Mark Douet
40 of the greatest plays ever written La Dispute (1744), Pierre de Marivaux Who committed the first infidelity? Was it a man, or was it a woman? (You can bet it was a man who first thought of this prurient question.) The court in Marivaux's dark comedy thinks it has created the right laboratory conditions for finding out the answer. Four teenagers have been brought up in complete solitude and then are released into each other's company where their encounters will furnish “a most original entertainment” for the unseen Prince and his fiancée. The play incisively shows how easy it is to turn a stage into an experimental blank slate. But it feels a bit pervy – the Enlightenment's idea of reality television. Marivaux is elegantly conscious of the objections. There are razor blades secreted in the rococo décor of his works. PT
40 of the greatest plays ever written Henry IV (1922), Pirandello It's easy to make Pirandello sound like a forbiddingly cerebral writer. All his life he played tricksy games with philosophical problems such as the deceptiveness of identity. But his aim was to “to convert intellect into passion” and his best works succeed in doing so. Henry IV is about madness, the appearance of madness, and the consequence of deciding to become trapped within the appearance of madness. The protagonist is an Italian nobleman who falls from his horse at a pageant and comes round, convinced that he's the medieval German Emperor. For 20 years, he has been allowed to live this illusion, attended by flunkies in period-costume. But now comes an embassy bent on “shocking” him from this idee fixe. Richard Harris and Ian McDiarmid were the last pair to play Henry in the West End and they relished the chance to interweave the quizzicality and raw pain that the part requires. The predicament of the central character feels more tragicomically stimulating than far-fetched. PT
40 of the greatest plays ever written A Raisin in the Sun (1959), Lorraine Hansberry This play made history: the first on Broadway written by a black woman (shamefully, Britain wouldn’t have its equivalent – a play in the West End by a black British woman – until last year, with Natasha Gordon’s Nine Night). A Raisin in the Sun looks at the Youngers, an African-American family living in poverty in Chicago, dreaming of a better life – and fearing that their dreams will shrivel up like “a raisin in the sun”. Hansberry’s aching drama exhibits the same forceful tug as an Arthur Miller play, laying out how circumstances can crush hope. Its discussion of black identity, however, still crackles today – and the emotional punch that Hansberry’s script carries has drawn big names down the decade: Sidney Poitier starred in the premiere, and everyone from Denzel Washington to P Diddy has also had a crack. Hansberry died at only 34; one can’t help but wonder what other plays she might have had on this list. HW
Johan Persson
40 of the greatest plays ever written Far Away (2000), Caryl Churchill Caryl Churchill has been called the Picasso of modern playwrights. Today, at the age of 80, the British playwright continues startlingly to reinvent herself. Far Away is a twisted fairy tale that demonstrates her matchless gift for merging the apocalyptic and the fantastical. It unfolds in three episodes that shelve steeply. In the first, Joan is quizzing her aunt about what she has just accidentally witnessed. It sounds as if she has espied a bloody act of ethnic cleansing. Then the play escalates into a blackly hilarious vision of cosmic warfare. Partisan brutality has now spread from humans to the animal and mineral world. “The cats have come in on the side of the French,” someone says earnestly. The “natural goodness of deer has come through” says someone else. This is characteristic of Churchill, finding a brilliantly absurdist way of attacking the pernicious myth that there is a simple divide between virtue and evil, “them” and “us”. A sliver of genius. PT
40 of the greatest plays ever written Arcadia (1993), Tom Stoppard Tom Stoppard sometimes gets accused of being all head and no heart – but this play proves otherwise. Yes, it’s a mind-achingly clever look at both science and art, pitting the rational against the romantic, while giving you mini lessons in chaos theory, the second law of thermodynamics and the life and shaggings of Lord Byron. But there’s a love story and a tragedy here, that in a well-calibrated production can be very moving. Two stories, set in the same country house, in 1809 and the present day, intersect and eventually overlap beautifully. The mathematic theorising forecasts hope as well as disaster for the universe, and the story offers the same for its characters. HW
A backwards structure in drama is sometimes used to chart a regression/progression from cynical disenchantment to original innocence. Pinter’s material has a heightened homing instinct for the start. It wants to show us that there’s no unambiguous moment of pure irreproachability. It shifts our concentration from the normal lockstep of cause and effect so that we can muse on our changing perceptions of which, from the gradually gathering heap of betrayals, is the most grievous. Is it the fact that Robert fails to tell Jerry that he has found out about the affair? Or is it his inscrutable sanctioning of it (perhaps) in the first scene? Robert and Jerry are homosocial rather than gay, but there are undercurrents.
In 1970, Pinter had directed a fine National Theatre production of Exiles (1919), James Joyce’s play about a tortuous love triangle in which there are heavy hints that the female character has drawn the short straw of being the surrogate through which the two men explore their growing mutual attraction. It’s doubtful that Betrayal would have taken the form it does if Pinter had not directed Joyce’s wildly ahead-of-its-time play first.
Tom Hiddleston and Charlie Cox in rehearsal for ‘Betrayal’
(Marc Brenner)
Sondheim’s 1981 show Merrily We Roll Along occupies the equivalent place of honour amongst musicals for the brilliance with which it marries retroverted form and content. Peeling back strips of time layer by layer, the piece takes three friends – a composer, a lyricist, and a magazine writer – from embitterment and compromise in 1976 back to the tingling hope of youth in 1957 when the world lay all before them and they gathered on a New York rooftop to watch Sputnik . A run-of-the-mill composer might have registered the passage of time through changing fashions in music. Instead, Sondheim unforgettably communicates it by reversing the principles of reprise and quotation that are conventional in musical scores.
In Merrily , we first hear a snatch of the composer’s hit song “Good Thing Going” sung by Frank Sinatra on the radio. In the reverse chronology of the show, it’s been established as a standard long before we watch the struggle to pen it. “And while it’s going along/ You take for granted some love/ Will wear away/ We took for granted a lot/ But still I say/It could have kept on growing/ Instead of just kept on/ We had a good thing going/ Going/ Gone”. It’s quite rolling-hipped in its melancholy beauty when we first encounter it in the piece; then the tone and tune of the first line (“It started out like a song”) are progressively pared down to the hectoring stab of one finger at the rehearsal piano as the young hopefuls try to conjure up the hit that will justify the hope. As emotionally stirring as it is ingenious.
Tom Hiddleston shares teaser for Harold Pinter's Betrayal Could you identify the author’s gender from one of these counter-clockwork exercises? I thought it unlikely. Now I am not so sure. There’s a quote from Woody Allen, “In my next life I want to live my life backwards,” that looks forward to nine months of luxurious spa-like conditions: “And then voila! You finish off as an orgasm.” A bit self-aggrandising. I thought you were the result of one (possibly two). By contrast, I can’t readily picture a man writing these lines from Alice Oswald’s remarkable poem “The mud-spattered recollections of a woman who lived her life backwards”. She writes of the terrible morning “they came to insert my third child back inside me”. So far, so graphic. Then the devastating poignancy as the mud-spattered woman recognises the emotional implications: “I leaned and cried/ and a feeling fell on me with a dull clang/ that I’d never see my darling daughter again.” A step up, artistically, from imagining yourself as an orgasm.
Stephen Sondheim’s 1981 show ‘Merrily We Roll Along’ married retroverted form and content
It’s sometimes hard to get your head round the philosophical ramifications of life lived backwards. How much memory are you allowed of the future you have already experienced as you march forward into your ineffable past. Christopher Nolan’s Memento – the most brilliant and endlessly suggestive of the movies on the subject – incorporates this problem and makes it essential to the logic of the story. The film alternates between a black and white strand that proceeds chronologically and one in colour whose reverse sequence (one step forward, two steps back) is designed to give you a taste of the perplexity experienced by the protagonist. Leonard was an insurance man whose job was to uncover fraud. Now he is suffering from chronic short-term memory loss as a result of a blow to the head from the thugs who raped and killed his wife. His obsessive mission to run them down is hampered by his condition; to keep track of what has just happened, he has to resort to taking Polaroid photos and preserving information in indelible tattoos on his body. The structure allows us to see twice and to reassess sequences that leave him bewildered about who to trust. And the suspicion stirs that, while Leonard’s condition is not fictive, it might be a massive insurance policy for keeping the truth at bay. It’s not fanciful to see affinities with Oedipus Rex . Insurance policies tend to backfire in most drama, but in backwards-moving plays particularly. We have seen the future and it does not work.
Memento finds an arresting metaphor for the worrying evaporation of memories in Polaroid photos. If footage of them is played in rewind, it looks as if the wet, developing image is drying off to a sublimated blank. Nabokov wrote that “Nobody can imagine in physical terms the act of reversing the order of time. Time is not reversible.” Maybe not, but it has not stopped people trying nor communicating why they feel such a pressure to do so. Including one of Nabokov’s greatest admirers, Martin Amis, who in his 1991 novel Time’s Arrow , presses the rewind button on the Holocaust. Except that that makes it seem facile whereas prodigious technical powers have gone into the book. It’s a knowingly grotesque irony that German guards and doctors become, in his reverse-Auschwitz, not just the saviours of the Jews, but their visionary begetters, drawing them down into being from the smoke of their extermination and pounding the gold teeth back into their gums. A sickening exercise in misplaced faux-sublimity? No, because the author’s tone is unbelievably supple, his savage indignation all the more lethal for being so sly, straight-faced, Swiftian. “Entirely intelligibly, though, to prevent lethal suffering, the dental work was usually completed while the patients were not yet alive.”
Guy Pearce in Christopher Nolan’s ‘Memento’. The film asks how much memory you are allowed of the future you have already experienced as you march forward into your past
To my ear, this category of writing has produced some really impressive feats. Harold Pinter gave his friend, Samuel Beckett , Betrayal to read (a copy was by the bed where he died). This is what he wrote about it: “That last first look in the shadows after all those in the light to come wrings the heart.” In its tender plaiting together of prospect and retrospect, it does the play deep honour and is a little work of art in its own right.
Betrayal is at the Harold Pinter Theatre until 1 June (0844 871 7622)
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies