There is a peculiar technique used by Nicholas (Owen Roe), the ruthless interrogator in this staging of Harold Pinter’s one-act play from 1984. He extends his little and big fingers from a closed fist and waves them in front of his prisoner’s face, dragging their eyes along with them. It’s the first gesture in a battle to assert domination over another soul. Who knew the final part of the Gate’s Beckett Friel Pinter Festival would also be the theatre’s most overtly political work in some time?
