A Slight Ache
Pinter, Harold (English playwright, director, novelist, poet, anthologist, screen playwright, Nobel Prize Winner in Literature 2005, b. Hackney, London, England, October 10, 1930-____),
“A Slight Ache,” a __-minute drama in English, set in _____, ____,
© 1958 by Harold Pinter;
• in Harold Pinter’s A Slight Ache, and Other Plays (London: Methuen & Company, Ltd. [since, Routledge, Chapman & Hall], 1961), LC a 62-798;
• also, in Harold Pinter’s Three plays: A Slight Ache, The Collection [and] The Dwarfs;
• also, in Harold Pinter’s Complete Works, Volume 1, ISBN 0-8021-5096-9, DPS 270, trade edition, containing “The Dumbwaiter,” a __-minute drama, 2m; “The Dwarfs,” a __-minute comedy-drama, 3m;
• also, in Harold Pinter’s Complete Works, with an introduction, vol. 1-4, 1st Evergreen edition (New York: Grove Weidenfeld, 1990), ISBN 0802150969 (v. 1), ISBN 0802132375 (v. 2), ISBN 0802150497 (v. 3), ISBN 0802150500 (v. 4), LCCN 90013933;
• script/rights available from Dramatists Play Service, Inc., 440 Park Avenue South, New York City, New York 10016, U.S.A., telephone 212-683-8960, fax 212-213-1539, http://www.dramatists.com.
• Cited by Allen L. Hubby via e-mail firstname.lastname@example.org, March 20, 1997; the citation says,
Flora (f) wife; Edward (f), husband; The Matchseller (m), a silent old man.
“Flora and Edward sit at the breakfast table chatting of flowers and wasps and of the slight ache which Edward feels in his eyes. Their conversation, which seems so simple and is yet so strangely revealing, then shifts to the mysterious matchseller who has been standing by their back gate for many weeks. Somehow his presence intimidates them, particularly Edward, whose ache becomes aggravated as they discuss who the matchseller may really be, and they resolve to call him in for a direct confrontation. Flora goes out to invite him to come into the house, and when he appears he proves to be an old man, dressed in rags, and so feeble that it is doubtful whether he can see or hear. Seating him in a chair Edward speaks to him in an unnaturally jovial and somehow terrifying manner and soon Edward, without a word of reply from the matchseller, [i]s so unstrung that he cannot go on. Flora takes over the interrogation, and again the old man’s silence spurs the spilling out of buried frustrations and fears. Edward returns, and this time there is a note of desperation in his attempts to break through and understand the meaning of the matchseller. But it is Flora who leads the old man off at last, as a young girl might take her lover to the garden. As she goes she hands his tray of matches to Edward. He has lost the struggle, the nameless competition in which he has been engaged, and now it is he who has become the matchseller.”—DPS.
• First presented on stage by Michael Codron at the Arts Theatre, London, January, 18, 1961, later at the Criterion Theatre with two plays by John Mortimer and N.F. Simpson.
• “Produced off-Broadway in tandem with ‘The Room,’ this short play is filled with a subtle sense of mood and elusive truths. . . . ‘[T]he most unusual play off Broadway.”—Norman Nadel, N. Y. World-Telegram & Sun. . . . ‘[D]emonstrates again what an unusual and exciting dramatist Harold Pinter is.”—Richard Watts, Jr., N. Y. Post.
• Produced with “The Room” by Carolina Swann and Martin Lee off-Broadway at the Writers Stage Theatre, December 9, 1964, running 199 performances.
• Research should include Harold Pinter - Bio-bibliography, http://nobelprize.org/nobel_prizes/literature/laureates/2005/pinter-bibl.html, accessed August 2, 2006.
• Photograph of Harold Pinter from http://www.dieneueepoche.com/articles/2005/10/13/5687.html, accessed August 2, 2006.
breakfast, desertion, interview, marriage.