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The Birthday Party & The Room Paperback – January 20, 1994

4.3 4.3 out of 5 stars 37 ratings

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In The Birthday Party, a musician escapes to a dilapidated boarding house, where he falls victim to the shadowy, ritualized violence of two men who have followed him from his sinister past. In The Room, a derelict boarding house again becomes the scene of a visitation from the past when a blind man suddenly arrives to deliver a mysterious message. Both plays are invested with the elements that make Pinter’s work unique: the disturbing familiarity of the dialogue, the subtle characterization, and the abrupt mood and power shifts among the characters, which can be by turns terrifying, moving, and wildly funny.

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Product details

  • Publisher ‏ : ‎ Grove Press; Revised edition (January 20, 1994)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 120 pages
  • ISBN-10 ‏ : ‎ 0802151140
  • ISBN-13 ‏ : ‎ 978-0802151148
  • Item Weight ‏ : ‎ 5.5 ounces
  • Dimensions ‏ : ‎ 5.5 x 0.5 x 8.25 inches
  • Customer Reviews:
    4.3 4.3 out of 5 stars 37 ratings

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Harold Pinter
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Customer reviews

4.3 out of 5 stars
4.3 out of 5
37 global ratings

Top reviews from the United States

Reviewed in the United States on July 2, 2013
I have seen "The Birthday Party" three times in three different productions and love the writing so much i had to have it. Pinter is one of those few playwrights who reward re-reading as well as re-viewing. The characters leap off the page. Like many of this master's plays it is a magnificent blend of the comic and the somber. For those who have not been able to catch the play on the stage or screen, if you enjoy modern drama you will most certainly enjoy this play. As for "The Room" is an apprentice piece - not at all bad, but Pinter had not fully come into his own at the time he wrote it. If you enjoy "The Birthday Party" be certain to also purchase his masterpiece "The Homecoming". Happy reading.
Reviewed in the United States on August 8, 2015
very great and fast shipping A++++ Thank you so much!!
Reviewed in the United States on August 20, 2018
Not the cheeriest of plays, but probably an accurate depiction of post-WWII (first performed in 1958) despair and numbness. None of the characters (a late middle aged couple who run a below-standard boarding house, Meg and Petey Boles; their sole boarder, Stanley Webber; a friendly and pretty local girl, Lulu; and a pair of ominous visitors whose motives are explored but never fully explained, Mssrs. McCann and Goldberg) is very likable. But one can’t help but feel some sympathy for Stanley who may or may not be a down-on-his-luck musician who descends into some sort of madness at the provocation of the two unexplained intruders. I suspect Pinter was influenced by Beckett’s Waiting for Godot (1952 French; 1954 English) with its blend of vaudeville and sadomasochistic elements. And subsequently, The Birthday Party’s influence on Edward Albee (Who’ Afraid of Virginia Woolf?) and Mart Crowley (The Boys in the Band) seems equally likely. The Room, the one-act play included in this volume, has a lot in common with the longer play and is equally deserving of a read.
Reviewed in the United States on July 4, 2009
"The Room" (1957) was Harold Pinter's first play, a one act piece, and it demonstrates some of the Absurdist features we grew to know so well: the seemingly aimless conversation, the sense of menace, dread, and terror, real violence or lurking violence, the Pinterian pauses, the feeling that we are in alien territory dealing with characters who don't seem to be in control of their destinies.
Of course none of us is in control of his or her destiny, but in this play Rose doesn't know if the room is still hers, who her landlord is, and who are the strange people who enter the room and seem to be attempting to control her life. Is Mr. Kidd the landlord? If he is, he doesn't know how many floors the house has. Rose asks him questions; he evades answering them or doesn't comprehend.
The stranger Riley calls her Sal, and says she is wanted at home. She's puzzled; we're puzzled, and that's part of what Pinter is saying--we live in an existential world in which we operate and wait for we know not what.
Pinter took his cue from Samuel Beckett and brought his audience into new territory where the norms of behavior were altered, into a world of questions without answers. But Pinter the artist was able to create an alternative world in which his plots intrigue us, his dialogue has its own beauty and majesty, and his characters fascinate us.
Pinter changed the audience's expectations, shook them out of their usual theater-going habits and made them think. He made them anxious, antsy with his skittish people in his edgy plays. Rose says, "Who did bring me into the world?" Why, Pinter did, of course.
Rose Hudd talks endlessly in the beginning, and her husband Bert says nothing. It's cold and damp, and he has to take the van out. When he comes back he talks briefly about his trip and savagely confronts a stranger, and Rose ends up transformed.
Pinter often used the enclosure of a single room: human beings were caged in, caught in a claustrophobic situation. The play seems slow-moving yet a great deal happens. Great portent is conveyed quite quickly. He's a shock and awe artist.
There's always the possibility Pinter is toying with us, seeing what he can get away with, seeing if his quirky stuff will go over, conning us.
I have reviewed "The Birthday Party" elsewhere on Amazon.
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Reviewed in the United States on August 5, 2017
I hated both plays and could not imagine sitting through either at a theatre or how PInter became so esteemed. The plays seemed nonsensical to me and thus utterly boring. Had they not been so short, I never would have finished reading. Quite disappointing as another book I read kept referring to "The Birthday Party" as something special. Possibly the plays have some deep sociological meaning but they are not, to me, remotely entertaining.
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Reviewed in the United States on April 1, 2016
ehh. Not terrible