Harold Pinter at 75. In One for the Road, the protagonist is Nicolas, a whisky-sodden interrogator who has brought in a family for questioning (and, it is implied, raping and torturing). In the short, sharp shock of The New World Order, we eavesdrop on a conversation between two torturers, held over the top of their mute, blindfolded victim's head ("We haven't even finished with him. We haven't begun."). In Ashes to Ashes, the interrogation of Rebecca by Devlin takes a sinister turn as we learn that her ex-lover participated in state-sponsored violence. In Mountain Language, a sadistic guard plays power games with a group of mountain dwellers, who are forbidden from speaking in anything but the language of the state. In Party Time, Pinter lampoons the smug security of the middle classes, portraying an insufferably élite party which carries on regardless of the violence and terror on the streets outside. Now, for Pinter's 75th birthday, some of the tormentors and the tormented so potently etched in his later plays are assembled together in a new dramatic work with a musical setting by the composer James Clarke.
Suburban sweatshops. Jorge Bonilla is hospitalized with pneumonia from sleeping at the restaurant where he works, unable to afford rent on wages of thirty cents an hour. Domestic worker Yanira Juarez discovers she has labored for six months with no wages at all; her employer lied about establishing a savings account for her. In 1992, Fordham law professor Jennifer Gordon founded the Workplace Project to help immigrant workers in the underground suburban economy of Long Island, New York. She has written a book ,"Suburban Sweatshops", to describe the experiences of these immigrants. More inside.