The Hothouse
| The Hothouse | |
|---|---|
| Written by | Harold Pinter |
| Characters | Roote Gibbs Lamb Miss Cutts Lush Tubb Lobb |
| Date premiered | April 1980 |
| Place premiered | Hampstead Theatre, London |
| Original language | English |
| Genre | Drama |
| Setting | Various locations within a mental institution |
| Official site | |
The Hothouse (1958/1980) is a full-length tragicomedy written by Harold Pinter in the winter of 1958 between The Birthday Party (1957) and The Caretaker (1959). After writing The Hothouse in the winter of 1958 and following the initial commercial failure of The Birthday Party, Pinter put the play aside; in 1979 he re-read it and directed its first production, at Hampstead Theatre, where it opened on 24 April 1980, transferring to the Ambassadors Theatre on 25 June 1980, and it was first published, also in 1980, by Eyre Methuen. The play received its American premiere at the Trinity Repertory Company in 1982. Pinter himself played Roote in a subsequent production staged at the Minerva Theatre, in Chichester, in 1995, later transferring to the Comedy Theatre, in London.
The play is set in an institution whose nature is subject to interpretation; throughout the play, it is ambiguously referred to as both a "rest home" and a "sanitorium" but its "residents" or "patients" are designated anonymously by numbers, not by their names.
The professionalism and even sanity of the institution's director, Roote, are undermined by his subordinates: the efficient and ambitious Gibbs, the aptly named alcoholic Lush, and Miss Cutts, Roote's calculating and shrewd mistress who is also involved with Gibbs. After the reported murder of one patient and the rape and resulting pregnancy of another, Roote orders Gibbs to find the perpetrator(s), who it appears is Roote himself, and Gibbs supplants his boss as administrator of the corrupt "rest home", whose inmates converge upon the staff, resulting in mayhem.
The play has been interpreted as a searingly comic indictment of institutional bureaucracy; its black comedy and absurdism exposing hierarchical power structures anticipate Pinter's later more overtly political dramatic sketches and plays, such as "The New World Order" (1983), One for the Road (1984), and Mountain Language (1988).
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