Harold Pinter's The Homecoming is a little like a cut of uni — primal, pungent, profane and perplexing — all with a distinct whiff of putrescence about it. But for those who appreciate it, the Nobel laureate's masterwork of family dysfunction is nothing shy of transformative. Director Milton Zoth brought new immediacy to Pinter's classic last spring in his marvelous production of The Homecoming at the St. Louis Actors' Studio. For a few glorious weeks, Pinter's cast of brutish miscreants stalked the stage, vied for dominance, and left audience members unsettled and awed, reminded, once again, of Pinter's genius and The Homecoming's inscrutable power to disconcert.
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