1. What is drama? 2. Two Types of Drama. 3. Historical Context of The Birthday Party. 4. Key Facts about The Birthday Party. 5. Summary. 6. Analysis.

1. The Birthday Party by Harold Pinter
What is drama?
Theworddramacomesfrom theGreekword for “action.Dramaiswritten to beperformed
by actorsand watchedbyan audience.
Consistsoftwo typesofwriting :
• Thedialoguethatthe charactersspeak
• Thestagedirectionsthattellthe actorshowto move and speak,describingthesets and
props
Can be presented in two ways :
• As literature,the text of the playitself
• As performance,theproductionofthe play ina theater
Two Types of Drama :
Tragedy :
 showsthe downfallordeath of a tragic hero,or maincharacter.InancientGreek
plays, the herowas a goodpersonbroughtdown by a tragic flaw, or defectin
character.Ina modernplays, the hero canbean normalpersondestroyedby an
evil in society.
 emphasizeshumangreatness.
Comedy :
 often shows a conflictbetweenoppositeagegroups,genders, or personality
types.
 typical comediesinvolve,jokes, and a happyending.
 stresses humanweaknesses.
A dramaorplayisa formofstorytelling in which actorsmakethecharacterscome
alivethrough speech (dialogue) and action (stagedirections).
•Every performanceofa playis different, even if the sameactorsperform the sameplay
manytimes.
•Performancesareinfluencedbythe audience.Tobeapart of an audienceisdifferentthan
readinga playalone.Theresponseofthe audiencewillalsoaffectour ownresponse.For
example,welaughlouderwhenthe rest of the audienceislaughing,too.
How is a playwritten?
 Theauthorof a playis calledaplaywright. Everything a playwright writes mustappear
onstage.
 A play in writtenform is calledascript.
 Theplaywrightmustwrite the dialogue,orwhat the characterssayto eachotherin
conversation,as wellas the stage directions,whichdetailhowtheplayis to be
performed.
Dialogue :
 Dialogueiswhat the characterssay, andit is used to reveal their personalities=
CharacterTraits.
 Thenameofthe characterwhoisto speak is listedusuallyin boldat the start of a line,
followedby a colon.
 Every timethe speakerchanges,a newlineis started. Dialogueisnecessaryinorder
to develop conflictandadvancetheplot.
Staging a play:
 Dramaismorethan just the words ona page. Theproduction ofa playinvolves
directingtheway the charactersmove,whatthey wear, the lighting,andthe scenery.
 Stagingis the practiceofputting onthe play. Someof the details of stagingmaybe
includedinthestage directions,however,the directorandthe producertakewhat the
playwright hasdescribedandbringit to life with theirown ideas.
Sets :
 Sets are the scenery, backdrops,andfurniturethat createthesetting.
 A productionmayhave different sets for different scenes.Forexample,somescenes
maytake placeoutsideinthe street, whileothers maytake placeina character’sliving
room.Somescenesmaytake placeduringtheday, while othersmaytake placeat
night.
Props :
 Props are obbjectslikebooks,telephones,dishes,andother itemsthat actorsuse
onstageduringthe performancetosupportthe action.

2. Stage directions :
 Stage directionsarenotesin the scriptusuallywritten initalicsandenclosedin
parenthesesor brackets.Theyusuallydescribewhereandwhenascenetakes
place(setting),how the charactersshouldsaytheir lines,and howthe characters
shouldmove onstage.Theymayexplainthe character’smoodorhowthe
characterisfeeling.
 Stage directionsmayalsodescribesets, costumes,props,lighting,andsound
effects.
 Stage directionsusecertaintermsto describethestag
Dramatization :
 A dramatizationis a playthat was onceanovel, short story, folk tale, biography,or
other type of writing. Someplays are completelynewworks. Otherplays are
adaptedfrom novels, short stories, or even from nonfiction.Aplaywright takes
scenes,characters,andactionfrom anexistingwork andturns them into a play, or
dramatizesthem.
How is a play divided?
 A play is largelydividedup into parts, or acts. Thenumberofactsin a production
canrangefrom one to five, dependingonhowawriter structuresthe outlineof the
story. Thelengthoftimefor an actto be performedcanrangefrom 30to 90
minutes.
 Acts maybe further dividedinto scenes;inclassicaltheatreeachregrouping
betweenentrancesandexits of actorsis a scene,whiletodayit describesaquick
changeofsetting.
Remember-People Produce Plays :
 Theactorsandactresseswhoperform the playare knownas the cast.
 Thepeoplewhobuildsets, managelighting,orwork backstagearecalledthecrew.
Theatre Etiquette :
 All of the peopleinvolved in the production,bothcastandcrew, workvery hard to be
sure they give a great performance.
 It is the job of the audiencememberstohelpthe performersgive their best
performancepossible.Theaudiencecandothisby practicingtherulesof theatre
etiquette, whichishowthe audienceshouldbehavewhenwatchingaplay.
Rules of Theater Etiquette :
 Be on timeto the theater. Turnoff mobilephonesuponarrival.
 Be quite so otheraroundyou canhearthe performance
 You shouldusethe bathroom beforethe show begins,andnot get out of your seat
whilethe showis beingperformed.
 You shouldnot eat, chewgum,or drinkany beverageswhilewatchingtheshow.
 Whileit is appropriatetorespondto funny, shocking,orentertainingmomentsoutloud,
you shouldrespectothersaroundyou andtheir enjoymentof the play by not
respondingwithloud,inappropriatereactions.
When Should You Applaud?
 Stand andapplaudif you really thoughtthe show wasgreat. Thatis a calledastanding
ovation, and it honorsthe actors whoworkedso hard to give a great performance.
 It is customaryto applaudat the endof songs, andat the curtaincall,whenthe actors
comeoutto take their final bows.Throughouttheshow, audiencemembersmay
chooseto applaudwhensomethingparticularly0utstandinghasjust beenperformed.
Do not whistleor scream outto the performersexceptfor a Bravo.
Historical Context of The Birthday Party :
SinceThe BirthdayParty is intentionallyset inan isolatedandself-containedworld,theplay
itself doesn’treferenceanyspecific historicalevents. Rather,Pinter focuseson chartingthe
deteriorationof anindividualin isolationwhilealsoshowingthedangersof giving oneself
over to peoplelikeGoldbergandMcCann,whohave cometocollectStanleyonbehalf of
an unnamed“organization.”ThisplotenablesPinterto subtly commentonthehysteria that
besiegedtheUnitedStates duringthe 1950s—ahysteria that cameto beknownas
McCarthyism.Thisterm refersto the republicansenatorJosephMcCarthy,whoincited
widespreadfearin the US regardingthepossibilityof communistsubversion,despitethe
fact that there was littleevidencesuggestingthis mighthappen.As such,
GoldbergandMcCann’sinsistenceupontakingStanleyawayfor an unspecifiedcrime
echoestheaccusationsoftreasonthat ran rampantthroughoutthe ’50s.
Other Books Related to The Birthday Party :
Becauseof its engagementwiththenotion of guiltas ever-present andseeminglyinherent
to the humancondition,TheBirthdayPartyis similartoKafka’s unfinishednovel,TheTrial,
whichexaminestheways inwhichits protagonist,JosephK., gets sweptup in a vague
accusationandsubsequentpersecution.Similarly,TheBirthdayParty alsoowes tribute to
the BiblicalbookofGenesis,whichtracesguiltandtransgressionallthe way backto Adam

3. andEve andtheir failureto adhereto God’scommand,whichultimatelygavebirth to the
ideaof original sinand, thus, atonement.Lastly, the play bearssimilaritiestoBeckett’s
Waitingfor Godot,which—likeTheBirthdayParty— refusesto fully reveal its characters’
backstoriesandmotivations,insteadreveling in absurdityandmeaninglessness.
Key Facts about The Birthday Party :
• Full Title:TheBirthdayParty
• When Published:TheBirthdayParty waspublishedin1957andpremieredin1958.
• LiteraryPeriod:Modernism,Postmodernism
• Genre:Drama,“Comedyof Menace,”Theatreofthe Absurd
• Setting:Arundownboardinghouseina coastalEnglishresorttown
• Climax:Stanleyhas a mentalbreakdownathisown birthdayparty, revealing darkand
violent predilections.
• Antagonist:From Stanley’sperspective,GoldbergandMcCannaretheantagonistsof
TheBirthdayParty, but somereadersor audiencemembersmightreasonablyarguethat
Stanleyhimselfis the true antagonist.
StanleyWebber is the onlyguest staying inMegand Petey Boles’sboardinghouseina
coastal resort townin England,wherehe hasbeen holedupfor the past year and has
essentiallynocontactwiththe outsideworld. Onemorning,MegandPeteysit at the
breakfast tableand makesmalltalk.As Petey readsthe newspaper,Megrepeatedlyasks
him if he’s enjoyinghiscornflakesandfried toast. Beforelong, she remarksthat Stanley
shouldbe downstairsbynow. She then decidesto“fetch”him,finally drawinghim from his
room andgetting him to the breakfast table,where shepresents him withcornflakesand
fried toast.
After Petey leaves for work, Stanley tells Megshe’sa “badwife” for not givingher husband
a fresh cupof tea. Thisconversationeventuallyturns into a back-and-forthinwhichMeg
fluctuatesbetweenactinglikeStanley’s caretakerandhislover. Theyswitchbetweenflirting
andarguinguntil Meg mentionsthat two newguests willbe arriving soon.“What are you
talkingabout?”Stanley asks, unsettled, andMegtells him that Petey encounteredtwomen
on the beachthenightbefore. “TwogentlemenaskedPeteyif they couldcomeandstayfor
a coupleofnights. I’m expectingthem,”she says, but Stanleyclaimshedoesn’tbelieveher,
sincenoone hasever visited the boardinghousethewholetimehe’sbeena resident.
Changingthetopic,Stanley says, “When you addressyourself to me,do you ever ask
yourself who exactlyyou are talkingto?” Thenhegroansandputs hisheadin his hands,
but Megfails to understandhisquestion,instead askingif he enjoyedhis breakfast. She
says she usedto likewatchinghim playpiano whenhe usedto playas a professional.
Urginghim to get out of the house,she suggeststhat heget a jobplayingat the pier, and
he unconvincinglyinsiststhat he’s beenoffered a jobplayingat a nightclubinBerlin. As he
explainsthis prospect,headds that he wouldactuallytravel the world.Talkingabouthis
past life as a professionalmusician,hesays, “I’ve playedthe pianoall over the world. All
over the country.” Thenhedescribesaconcertheplayed wherecelebratedforhis
performanceandhis“uniquetouch,”thoughwhenhewentto give a secondconcert,the
performancehallwaslocked.“Theypulledafast one,”he says.
A knocksoundson the door, andMeggoes offstage to answerit, having a whispered
conversationinwhichavoice says, “What shallI dowith it?” Without identifying what “it” is,
Meggives this personinstructionsandthen goeson her way. At this point,the person
ventures intothe living room.Her nameisLulu, andshe’s carryinga parcel,whichshesets
downon the sideboardandtellsStanley that he’s “not to touchit.” Theythenhave a
conversationabouthow“stuffy” it is inside,and LuluencouragesStanleyto gooutside.
Stanleylies andsays that he wentto the oceanearlythat morning,butLuluhandshim a
compactmirrorandpointsout that he doesn’tlooklike a manwhohas beenoutsidein a
longtime. Lookingathimself,Stanley is visibly stricken,suddenlywithdrawingfrom his
reflection.Hethen asks Luluif she’dliketo “go away” withhim,but whensheasks where
they’d go, hesimplysays, “Nowhere,”andwhen sheasks if he’dliketo gofor a walk, he
says, “I can’tat the moment.”Luludeparts.
When the two newguests finallyknockon the boardinghouse’sdoor,Stanleyturns out the
lightand quicklyexits before they comeinside.TheirnamesareGoldbergandMcCann,
andthey talk aboutthe “job” they have to do. Goldbergisclearlythe boss, andhe tells
McCannthattheirtask is “quitedistinct”from their “previous work.” It all depends,he
upholds,on the “attitude”of their “subject.”At this point, Megenters andintroducesherself,
tellingGoldbergandMcCannaboutStanleyand saying that today is his birthday. Insisting
that they refrainfrom mentioninganything,she says that they willhave a party tonightin
Stanley’s honor, andGoldbergexpressesthanksfor beinginvited. Shethen shows them to
their room,andwhenshe returns, Stanley is in the livingroom.
Stanleyasks MegaboutGoldbergandMcCann,pressingherfor detailsuntilshe cutshim
off andgives him hisbirthdaypresent—thepackageLuluplacedonthesideboard.It is a
smalldrum.Slingingitaroundhis neck,Stanleywalks aroundthe livingroom tablebeating

4. the drum,muchtoMeg’ssatisfaction.As he keeps circlingthetable,though,his drumming
becomesincreasinglyerratic,untilthe beatis “savage andpossessed.”
Thatevening,Stanley meetsMcCannintheliving room.Suspiciousofthis newcomer,he
tries to discernwhyhe’s cometothe boardinghouseandbeginsaskingquestionsabout
Goldberg,whom hehasn’tmetyet. “Has hetold you anything?Do you knowwhat you’re
herefor?” hesays, but McCanndeniesthathe knowswhat Stanley’s talkingabout, instead
focusingonStanley’s birthdayparty until Goldberghimselfentersandintroduceshimself.
Desperateto keep GoldbergandMcCannfrom stayingin the house,Stanley pretendshe’s
the managerandtellsthem there’s noroom,but they don’tlisten to him,insteadinsisting
that he sit down.When they finallyforcehim into a chair,theystart askinghim strange
questions,whichbecomeincreasinglyinscrutable.Theyaskwhy he cametothe boarding
housein the first place,whetherornot he properlystirs his headachemedication,andwhen
he last took a bath. Theythen accusehim ofbetraying“the organization,” thoughthey never
specifywhat organizationthey’re referringto. Later inthe conversation,they ask why he
killedhiswife, andhe says that he doesn’thave a wife, but they hardlylisten, moving on to
ask if he recognizes“an external force.”“What?” Stanley replies,but they don’tmake
themselvesclear,insteadpushingonand askinghim—amongotherthings—ifthe number
846is “possibleor necessary.” Finally,in responseto a questionaboutwhetherthe chicken
or the egg camefirst,Stanley screams,andtheirconversationis interruptedby the soundof
a drumbeatasMegenters wearingherevening dressand playingStanley’s drum.
Before long,Luluarrives andStanley’s party beginswithout Petey, who’sunableto attend.
Pouringdrinks, GoldbergsuggeststhatMegmakea toast to Stanley. Whenshe does,
GoldbergandMcCannturnout the lightsand shinea flashlightinStanley’s face. In her
toast, Meghardlysays anything aboutStanley himself,insteadfocusingonhowhappyshe
is to be having a party in her home.Despitethe impersonalityof this speech,Goldberg
upholdsthat he’squite movedby Meg’swords, andthen hedelivers his owntoast. Next the
groupdecidestoplay a game,thoughStanleyhimselfhasyet to say a word, still reeling
from GoldbergandMcCann’sstrangeinterrogation.
Producingablindfold,thegroupdecidestoplay “blindman’sbuff,” a gameinwhichone
personhas a scarftied over their eyes and tries to find the other players, who arescattered
throughoutthe room.As the gameprogresses,GoldbergandLulufondleoneanotherwhile
McCannandMegflirtandStanley standscatatonic onhisown. When it’s Stanley’s turn to
playthe blindman,McCannputsthe drum inhis way andhis foot breaks throughit.
Draggingthe instrumenton hisfoot, he fallsover and Megmakesanoise. Whenhe rises,
he advancestowardher, and thenthe lights suddenlycut out andhe beginsto strangleher.
After great commotion,theothers separatehim from her, but he slips away. Theneveryone
hearsLulu scream andfallto the floor, having faintedas Stanley approaches.Insilence,
Stanleylifts her ontothe table, and whenMcCannfinallyfindsthe flashlight,the audience
sees that Stanley is aboutto rapeLulu.GoldbergandMcCannwresthim awayand back
him againstthe wallas he lets out a psychopathic laughbeforethecurtaincloses.
When the curtainopensagain,it is the next morningandMegandPetey arehaving
breakfast as if nothinghas happened.Megclaimstonot rememberanythingabouttheparty
andfocuseson serving breakfast, but there aren’t anycornflakes.Findingthebrokendrum
on the floor, she hits it and says, “It still makesa noise.”She remarksthat Stanleyshouldbe
awakebecausehe’sgoingto missbreakfast, andPetey says, “Thereisn’tanybreakfast,” to
whichsheresponds,“Yes, but hedoesn’tknow that.” Shetells Petey she went upstairsto
checkonStanley, but McCannandGoldbergwereinhisroom havingan intense
conversationwithhim.She then leaves the houseto get foodfor lunch,andGoldberg
comesdownstairsandtalksabout the party to Petey, whoasks him “what cameover”
Stanley. “Nervous breakdown,”Goldbergsays. He thenexplainsthat these kindsof
breakdownssometimesbrew“dayby day” beforeerupting,though for somepeoplethere
are nowarningsignsbecausetheirspiralingmentalhealthisa “foregoneconclusion.”
When Stanleyfinallycomesdownstairs,he’scompletelyincapableofspeaking.As he
spewsgibberish,GoldbergtellsPetey that he andMcCann aretakinghim to a doctor,
thoughit’s clearfrom his tone that this isn’t the case.Petey is suspicious,buthe finds
himselfunabletodo anything as they escortStanley out the door. Whenthey turn to go,
Petey callsafter them,saying, “Stan, don’t let them tell you what to do!” WhenMegreturns,
Petey tells her that Stanley is stillasleepupstairs, andshe says he’llbe latefor breakfast.
She then talks abouthow“lovely” the party was the nightbefore, insistingthat everyone told
her shewas “the belleof the ball.”“Oh, it’s true,” she says, though nobodyactuallytoldher
this. After a slight pause,she says, “I knowI was,” and thenthe curtainfalls.
Summary :
TheBirthdayParty beginsin the livingroom of anEnglishseasideboardinghouseinthe
1950s.Thereisa door leadingtoa hallon the left. A hatch,or interiorwindow,opensto a
kitcheninthe backof the room. Tableandchairsaresituatedinthe foreground.
Petey, a maninhis sixties, enters the livingroom with his newspaperandsits at the table.
His wifeMeg, alsoin hersixties, greetshim throughthe hatch.Megappearswith Petey's
breakfast of cornflakes,andasks him “Are they nice?”Peteyagrees that there are, andthe
couplethenengagesindullconversationaboutthe weatherand aboutthe birth
announcementofa girl mentionedinthepaper. Megopinesshewouldratherhave a little

5. boy than a girl,and thengives Petey a plate of fried bread,askingagainwhetherit's nice.
Petey says that it is.
Petey then tells hiswife that hemet two menthe onthe beachthe nightbefore, andthat
they had askedfor a room. Megissurprisedby the news, but quicklyrecovers and
considersthatthe menprobablyheardabouttheir boardinghouse'sreputation,sinceit’s“on
the list.” She does have a room preparedfor visitors, althoughthe two menwouldhave to
shareit.
Suddenly, Megsays she’sgoingto “wake that boy,” indicatingforthe first timethat there is
a boarderin the house.Petey asks her if she alreadybroughthim his cupof tea, and Meg
repliesthat she hadwatchedhim drinkit earlierthat morning.Megthenheadsup the stairs
andyells for Stanley Webber, insistinghecomedownforbreakfast. Shethreatens to “come
up andget him”otherwise.After a vocalcountof three, sheracesoffstage and up the stairs.
From offstage, Meg'slaughterandStanley's shouts are heardas Petey continuestoread
the paper.
Megreenters, out of breath andadjustingherhair. She rushesto prepareStanley's
cornflakes.Stanley, a scruffy, bespectacled,unshavenmaninhis pajamas,entersandflops
downin his seat at the table, wherehe stares moroselyinto hiscornflakes.He andPetey
exchangepleasantriesabouttheweather, andStanley complainsthathecan’teat his
cerealbecausethemilkhasgonebad.Megcallshim aliar, but quicklyreplacesthecereal
with friedbread.
Petey rises andexits out the sidedoorfor work, leavingMegand Stanleyalonein the room.
Themoodimmediatelyshifts. Stanleyteases Meg,callingherabad wife for not giving her
husbanda cupof tea inthe morning.Megbristlesandtellshim to mindhisown business,
but quicklyturns flirtatious whenStanleyuses the word “succulent“ todescribeherfried
bread.She ruffles his hair, but he pushesher arm roughlyaway.
Megfetchesa pot of tea and poursit, coyly tellingStanleyhe shouldn’tcallamarried
womansucculent.Stanleyrepliesthat a marriedwomanhasnoplacecominginto hisroom
and“wakinghim up.” Megbeginsto dust the room,and asks him if he reallythinksshe’s
succulent.Hesays that he does,but whenshe sensuallystrokes his arm andtells him she
has had“somelovely afternoonsin that room,” Stanleyrecoilsandstarts to lambasteherfor
the state of the house.His room needscleaningandpapering;hewants a newroom.He
continuestoinsult herand denieshera cigarette,even whenshe tries to ticklehim withthe
feather duster.
Either obliviousto his behavior or accustomedtoit, Megchangesthesubjectandmentions
that two gentlemenarecomingtostay. Stanley growssuddenlystill. Therehasnever been
anotherboardersincehecametothe house. He accusesheroflying, but Meginsistsshe is
tellingthe truth. Stanleyremainsaccusatorytowardsher, and they beginto shout until
Stanley, very quietly, asks her, "whodo you thinkyou’re talkingto?”
Thisisthe first indicationofStanley’s mysteriouspast. Backtracking,hetellsMegthat he
has gotten a job,that he’sgoingto travel the world, andthat he is goingto play pianoas he
oncehad.In a long monologue,hetellsof a concertheoncegave, statingthat his father
hadalmostcomedowntosee him,but then suddenlychanginghisstoryto claim henever
invited his father becausehehadlost the address. Hedescribestheconcertasa great
success,butclaimshisnext showwas a disaster. Stanleyrefers to a mysteriouscollective
(onlycallingit“they”) who boardedupthe concerthallandpulledafast oneon him.“They
wantedmeto crawldownonmybendedknees. WellI cantake a tip,” he says.
After hisspeech,Megasks him not to leave. She tries to comforthim,buthe cruellyclaims
that a van is approachingthehousewitha wheelbarrowthatwilltake her away. She panics
andaccuseshim oflying as he advanceson her.
A knockat the doorinterrupts them.Lulu,a young girlin hertwenties, has arrived with a
bulkypackage.Megasksher to leave it in the living room,but to prohibitStanleyfrom
openingit. Megleaves to do her shoppingasLuluenters. She opensthe doorfor air, and
playfully insists Stanleyneedsa bath anda shave. She asks him to joinher on a walk
outsideof the house.Stanley objectsatfirst, but thenagreesthey shouldgosomewhere,
anywhere. When Luluasks wherethey willgo, Stanley replies,“nowhere,”andquickly
recedesbackintohisown innerturmoil.Luluaffectionatelycallshim a“washout”and
leaves. Stanley washeshis face in the kitchen,andthen exits.
Twogentlemen,GoldbergandMcCann,enterthe room from the street. McCannisnervous,
andwants assurancethatGoldberghasbroughtthem to the right house.Goldberg,ina
pleasingtone,reassuresMcCann.GoldbergreminiscesabouthisUncleBarney, whoused
to bringhim to the seasideonthe secondFridayof every month. McCannremainsnervous,
but Goldbergcalmlyinsiststhat this impendingjobwillbenodifferent than those they have
performedinthe past. ThisperspectivequietsMcCann,whocallsGoldberga“atrue
Christian”andindicatesthat heis grateful for beinginvited on this job. Goldberginsists
McCannisthebest in his profession,andthey settle intoa discussionaboutthemysterious
jobthey have cometoperform.Thisisthe first indicationthata personin the boarding
houseis “the job,” thoughthe particularsofthe jobremainunclear.

6. Megenters, andGoldbergcharminglyintroduceshimselfandMcCann.Hequickly
establishesa flatteringreparteewith Meg,whom hecallsa tulip.Meginformsthe
gentlemanthatthey have arrived onStanley Webber’sbirthday. Goldbergseemsvery
interestedin Stanley, andlearnsfrom Megthat he is heronly boarder,that he oncegave a
concert,that hewas a goodpianist, andthat hehas beenat the boardinghouseforsome
time.
Goldbergsuggeststhat they throw animpromptubirthdayparty for Stanley. Megis thrilled
at the idea, anddecidesshewillwearher party dress. She then showsthe gentlemento
their room,at McCann'sinsistence.
Meanwhile,Stanleyrentersthe room andsits at the table.When Megreenters, he
bombardsherwithquestionsabout the gentlemen:Whoarethey? What aretheir names?
When are they leaving?Stanleyis visibly upset whenhe learnsGoldberg’sname.Hesits
very still as Megreassureshim that the menwillnot botherhim.Tocheerhim up,she gives
him the packagethatLuluhad broughtover.
Fatigued,hedeniesthat it is his birthday, but Megrefuses to listen. He opensthe package
to find a toy drum withtwo drumsticks.Megaskshim to give hera kiss andhe does, albeit
uponher cheek.Sheasks him to play, and he hangsthe drum from his neckandprances
aroundthe tabletappinga merrybeat. Then,Stanleysuddenlybeginsto bangthe drum
erratically,almostsavagely. He arrives at herchairand, leaningintowardsher face,he
bangsthe drum harderand harderas if he werepossessed.
ThecurtainclosesonActI.
Analysis :
Overall, TheBirthdayParty is both extremelyconventionalandentirelyunique.Mostof its
elementsareeasy to recognizeandunderstand,but the relationshipsbetweenthose
elementsisslipperyanddifficultto pinpoint.Pinter's workis prized for the way it
approachesandcommentsuponthelimitationsofcommunication,andTheBirthdayParty
is no exception.Theplay,especiallyinperformance,suggeststhat our attemptsto
communicatewithoneanotherarefutile andoften tingedwith deep-seededresentments
that we are unableto fullyarticulate.Thetruth, in orderwords, liesin the silence,notin the
wordscharactersuse.
Tobestunderstandthe play, it is useful to know aboutthe famous'Pinter pause.' Even a
cursoryscanof the playwillreveal howpreciselyPinter usessilenceandpausesintelling
his story. Whileit is perhapsnot accuratetointerpret this silenceasdeliberatelydesignedto
communicateanidea,itcertainlydoescreatea generalunease,a feelingof sinister
motives, that hasbecomeahallmarkofthe writer's work. Pleasesee the "Theatreofthe
Absurd" sectionof the notefor morespecificsaboutthisstyle.
Act I of TheBirthdayParty openswith a traditionaldomestic sceneofa husbandandwife
aroundthe breakfast table. Theirconversationisblandbutcomfortable.Onthepage,it can
seem hardlytheatrical:thereis no conflict,noexposition,andno challengetoexpectation.
However, hiddenbeneaththe surfaceof Petey andMeg’smorningroutineisa heavy sense
of apathy, a recurringthemewithintheplay. Both Petey andMeg, likeStanley, have
acceptedtheirtediousexistencetothe pointthat they fear change,asproven by Meg’s
reactioninAct III whenshe doesnot have breakfast ready. Her morningroutineisdisrupted
andshe is extremelyupset. In performance,onecansensetheundercurrent,whichgives
the scenetensionif not conflict.Again, theirrelationshiponthe surfaceseemsperfect- in
the silencebeneathit,however, anaudiencecansenseaproblem.
Thespecific settingofTheBirthdayParty is an Englishboardinghouseonanunnamed
coastin the 1950s,but it is alsoset withinthe generalizedideaof “the home”and“the
family.” By establishingsucharecognizablesetting -the domestic home -Pintersets the
stage to reverse expectationandmakecommentaryuponit. Effectively, hereinvents the
domestic scenebyaddingelementsofconfusionandchaos.Thisjuxtapositionledcritic
Irving Wardleto describetheplayas a "comedyof menace,"oneinwhichaseemingly
realistic sceneiscomplicated bylies, deceitandconfusion.
Stanley, as a character,representstheessenceof confusion;heliesabouthis past, speaks
rudely, lies regularly, andlater deniesanywrongdoing,even thoughGoldbergandMcCann,
whoare also shroudedinmystery, stronglyinsist uponhis guilt.Pinter establishesthe
layers of socialnormssothat he canlaterpeel them backto reveal the uglypotentialof the
humancondition.
Act I also introducestheoddrelationshipbetweenMegandStanley. When Petey is
present, Megrefers to Stanley as “that boy,” a stern but affectionatechoiceforherboarder.
Of course,their relationshipisfar moreintimate.Pinterexploresthe differencebetweenher
relationshipwiththe menthroughthe motifof "tea," or "makingtea." Megdoesnot forget
Stanley’s tea, but shedoes forget Petey’s. Stanley latercallsher a badwife for sendingher
husbandto work withoutany tea, and whatis impliedisthatshe is far moreinterestedin
having tea readywhenshe is left alonewiththe boarder.
Theirsexualtensionisabundantlyclear,thoughthe particularsof theirrelationshipremain
ambiguous.MegismucholderthanStanley, whichallowsthereaderto createhis or her
owndetails: is Stanleytaking advantageof a lonelyoldwoman?Didtheyhave a sexual

7. relationshipthatfaltered?An examinationoftheirrelationshiprevealshowambiguous
Pinter's play truly is.
Stanleyopenlyflirts withMegas she preensand struts about the room,fishingfor
compliments.UnlikeherconversationwithPetey, whichcentersonwhetherthefood was
"nice"andother pleasantries,Megwishesto knowwhether Stanleyfinds her "nice."She
wants intimacywithhim;she wants to somethingdeeperthanherrelationshipwithPetey
affords. In effect, she is confessingthedepthof herloneliness,herdesireto breakfrom an
apathetic routine,but shecannotfully expressthis. Instead, we aremeantto discover it
whileshe is morethanhappysimplyto be called"succulent."
It canbe arguedthat Megis simplydelusional.Certainly,she harborsdelusionsaboutthe
qualityof herhouse. Shebelieves it is "on the list," but its shabbyqualityis mentionedby
Stanleyon several occasions.InAct II, Stanley willinsistto GoldbergandMcCannthatit is
not even a boardinghouse.Even if it is, its lackof boardersspeaks volumesaboutits quality
andreputation.
However, her greatest andmost poignantdelusionsinvolveher relationshiptoStanley. She
maynot have even hadan affair with him.He maymerelysee her as comic relief,oras a
way to ensurehis securityin the house.Her sentimentaltouchesandher affectionate
reminderofhaving spent “manylovely afternoons”in hisroom only inspireviolentand rash
outbursts from him.Is he tired of her flirtatiousways anddelusions,or is he guiltyof having
enteredinto an affair withhis mucholder,marriedlandlady?HasStanley takenadvantage
of her? Theycertainlyseem familiarwithoneanother, sinceStanleyallowsherto enter his
room uninvited, but again,Pinter leaves the exactdetailsup to his audience.
Yet their conversationis barbedas wellas comfortable.MegworriesboththatStanley will
growangry with herand that he willleave. Thelatter fear mightconnecttothe pain of her
ownfather's betrayal, as describedinAct II. Regardless,it is rootedin a desireto break
from the apathy of her life. Throughtheeyes of this youngerman, Megcanseeherselfnot
as a generic housewife,butas somethingspecial -notas a failure(her businessis quite
meager,after all), but as a worthwhilewoman.Stanley,on the other hand,is definednot by
his fear but by his disgust.He is disgustedby himself,by the boardinghouse,andbyMeg,
whorepresents hisguilty conscience,hisjailer,or both. Whileshe is comfortablebecause
she acceptswhoheis, one couldarguethatshe alsomakeshim see himselftoo clearly,
andhencedoeshe hateher as wellas accepther.
Pinter never confirmsordeniesthe intimatedetailsof MegandStanley’s relationship.
Petey, however, offers someinsightwhenhe liesto MegaboutStanley’s whereaboutsat
the endof Act III. He knows shewillbe hurt whenshe finds that Stanley hasleft, and inan
effort to spare hiswife pain, heallowsher to go abouther domestic routineinsteadoftelling
her the truth. If nothingelse,Petey recognizesher delusion,herneedto find self-worth
throughthe boarder.Thereisno specific incidentwithintheplaywhichconclusively
determineswhatPetey knowsof MegandStanley’s relationship,butlackof closure
certainlyalignswith the play's generalambiguities.
Confusion,oneof the mostdominantthemeswithintheplay, is perpetuatedbythe
characters’needstomaintaintheirdelusionsbylying to oneanother. Stanleyconsistently
lieswithin the play. He tells Meghehas a new jobandwillbe leaving, but in reality, nothing
couldbefurther from the truth. Stanley doesnot want to leave the boardinghouse,andyet
he feelstrapped there, stuckin the mindlessand repetitiveworld of MegandPetey’s
relationship.Heis both drawnto and disgustedby the safety of suchalifestyle. Theexile is
in manyways self-imposed,consideringthatherefuses Lulu'sinvitation to leave. His liesto
Megcouldbeinterpretedas yet anothercrueltytowardsher, but they alsoreveal the extent
of his self-hatred, andthe brief respitethese delusionsbring.When hedoes crossthe line
into cruelty, tellingMegthat she willbetaken away by a wheelbarrow,hedoesnot realize
howpoignantlyheforeshadowshis ownfate within the play.
Stanley, likethe other characters,isnot what he seems.Hiscontinued deceitdiscreditshim
as a trustworthy character,andyet he suggeststhat hemightindeedhave a shady past
whenhe asks Meg:
“TellmeMrsBoles,whenyou addressyourself to me,do you ever ask yourself whoexactly
you aretalking to? Eh?”Suchan addresscouldsuggestoneof two pasts: either anentitled,
wealthybackground,orthe self-appointedswaggerofa violent man.Further, helies about
his father, confusingevenhimself.Even he has forgottenwhat is true.
As he continueshisstory about the concerts,hebeginsto reveal seriousparanoia.His
passionduringthis part of the speechsuggestseitherthat hisis speakingtruthfullyor that
his delusionshavetaken over. Megdoesmentionthat he usedto playpianoat the pier, so
the talent itself is not an invention, even if it nowlays dormant.Either way, Stanleyseemsto
believehe has beenforcedfrom his careerandvocation.Perhaps aninitialnervous
breakdownforcedhim from ahighlife (realor imagined)tothis secludedseaside
boardinghouse.Regardless,hehascertainlyleft his oldlife behind,andnowsees fit to
reinvent the particularsofhis old life. Thequestioniswhether,for Stanley, the difference
betweenthe realityand his delusionreallymatters.
Adding to the play's confusingatmosphereisthemiscommunicationmanifestinPinter's use
of language;miscommunicationisanotherrecurringthemethroughouttheplay. Each
characteruseslanguagenotonlyto express himself,butalso to further his owncause,lie,

8. mislead,andsimplycausepain.Pinter oncereflectedthathe hadused too manydashesin
TheBirthdayParty, and not enoughdots. Although hisexampleisesoteric,his meaningis
clear.Thelanguageservesto confuseus, even as the charactersgivelots of information.
Forinstance,Goldberg’slongwindedspeechesreflectona past whichmayor maynot
have relevancetowardhis currentcircumstances,andmayor maynot suggest a deeper
interpretation.Thedialogueisoutwardlyconversational,buthis deliberatelypacedsilences
andcarefullychosenlanguagesuggestsadeeperturmoilthanthe charactersmeanto
express. Considerhowthe superficialityof the openingdialoguehides deepapathy,or how
Goldberg'scharmingdemeanoronlymakeshispresencedoublysinister. Similarly,
Stanley’s hesitancymasksa deeperturmoil.Hisrash outburstsrepresent hisfear, or
perhapshis guilt.Oneof the mosttellingmomentsofthe Act uses no dialogueatall -
Stanley's possessive beatingof the drum not onlyfeeds the forebodingatmosphere,but
foreshadowshisown descentintomadness.
GoldbergandMcCann’sconversationinActI showcasesPinter’suseof languageasa
dramatic element.Theirentrancecreateschaos,asthey throwthe seeminglyunoriginal day
at the boardinghouseintoastate of perplexity. GoldbergandMcCann’sfriendlybut
businesslikeconversationironicallycreatesaominousatmosphere.Theyarehere to “do a
job.” By avoidingthe particulars,the audienceisleftto constructtheirownsinisterdetails,
an effect madedoublyeffective whenperformancesutilizetherhythmic silenceandpauses.
Goldberg’scryptic messageispartlyfor the benefit of the audience.Pintercertainlydoes
not want to give too muchaway,and yet Pinter himselfmaynot know what the jobis. He
was famousfor followinghischaractersintuitively, learningaboutthem ashe wrote, rather
than determiningtheiridentitiesbeforewriting.If weacceptthisapproachastrue, then
Pinter himselfwouldhavediscoveredthe existenceof a "job" preciselyat this pointof the
play, andcontinuedwritingtodetermineitsconclusion.As there is no conclusiveresolution
withinthe TheBirthdayParty, onecanassumethat Pinterdid not knowwhat happenedto
Stanleyafter he left the boardinghouse.Hemaynot know what GoldbergandMcCann’s
“job”is, or if they successfullycompletedit.What this suggests,then, is that plot is far less
importantthanatmosphere,andthe generalcommentaryonthe limitsof communication.
Pinter’slater works wouldexaminecharacterssimilartoGoldbergandMcCann,who
representeda corrupt'organization.’However, in this earlywork, the two gentlemenonly
representa potential organizationfrom whichthey mayhave beenchargedwitha job. At its
core,TheBirthdayParty is frustrating from a story perspectivebut wildlysuccessfulinterms
of atmosphere.Its senseof confusionanddelusionareallthemorepowerful for its
narrative ambiguities.
Summary :
Act II isset laterthatnight.
McCannsitsat the tablealone, methodicallytearingpagesof newspaperintofive equal
strips. Stanley enters the room,andis startled to seeMcCann.Hestarts to escapetoward
the kitchen,but changescourseandcasuallygreetsMcCann.Whenhehears some
laughternearby, he asks who it mightbe, but McCanndoesnotanswer.
He drinksa glass of water in the kitchenandthentries to leave. As Stanleyapproachesthe
door, McCanninterceptshim.Theyintroducethemselvesandexchangepleasantries,
althoughthereis a barbedundertoneto the exchange.
McCanninsistsStanleystay for the birthdayparty that night, even thoughStanley claimsit
is not his birthdayandthat the party willbe just anotherbooze-up. McCannwhistles“The
MountainsofMorne,”an Irish folksongwhichStanleyrecognizes.Theywhistlethe tune
together. Stanleythen tries to leave again,but McCanninsistshestay. Stanley acquiesces,
andthey sit togetherat the table. Stanleyasks McCannifthey have ever metbefore.
McCanndeniesit,andgrows angrywhenStanley touchesoneof the strips of newspaper.
Stanleyinsists that they have met before,but McCannagaindeniesit.
Stanleytells how heoncelived a quietlife, rarely goingoutdoors.However, business
broughthim to the boardinghouse,andhehas beenthereevery since.He alsoinsists he is
the samemanthat he hadalways been, thoughhe admitshisappearancehasfadedfrom
drink. Heconsidershownoone wouldever expecthim to be a manwhowouldcause
trouble.He picksup a strip of newspaper,andMcCannsternlychideshim forit.
Stanley’s demeanorsuddenlychanges,andheasks McCannwhyheand Goldberghave
cometothe boardinghouse.McCanndeflectsthequestionsandobserves that Stanley
seemsdepressedonhis birthday. Stanley againdeniesit's his birthday, and offers that Meg
has gone“roundthe bend.” Becomingupset,StanleygrabsMcCann’sarm andinsiststhe
other sit downand listento him.McCannsavagelyhits Stanleyand pusheshim away.
Stanley, slightlymollified,insistsagainthat he andMcCannhavemetbefore, andthat
McCannisbeingdeceitful.Stanleydemandshisstory is true - he oncelived inBasingstoke
andrarely left his home,he hadthingsdelivered to his door,and he waspracticallya
recluse.Suddenly,he switchestopicsandtells McCannofhisfondnessfor Ireland andits
people,especiallyitssunsets and policemen.McCannseemsunimpressed.
Petey and Goldbergarrive,and Stanleyis introducedtothe latter. Goldbergtellsthegroup
abouthis mother,and abouta formergirlfriendwhom hehadonceloved but whom hehad

9. never unfairly takenadvantage of. Hetells how hismothercalledhim “Simey,”and
preparedgefiltefish for dinner.
GoldbergasksStanleyabout his childhood,butStanleyis unresponsive. Petey leaves for a
gameof chesswithfriends, and McCannfollowstobuy alcoholforthe party. Stanley and
Goldbergareleft aloneinthe room.Goldberg,atease, makessmalltalk, but Stanley won’t
listen. Instead, he tellsGoldbergtherehas beensomekindof mistake, that the
boardinghousehasnoroomsleft for them and so they mustleave. Goldbergsmoothly
changesthesubjectto birthdays, comparingthem towakingupin the morning.Hesays
somepeopleknowhowto appreciatethewonderof wakingup, whileothers actas if they
are corpseswaitingtobe washed.
McCannreturnswithsomebottles, whichhesets downon the sideboard.Stanleyagain
insists they leave, but this time, GoldbergandMcCannrespondaggressively,insisting
Stanleysit down.McCanninsistsforcefully,but it is Goldberg'squiet,threateningtonethat
effectively inspiresStanleyto acquiesce.
Theybeginto interrogateStanley witha series of both unnervingand seeminglyunrelated
questions.Throughtheirquick,shortquestions,they reveal details of Stanley's past to the
audience(orat leastdetails of the past they have fabricatedforhim.)Theirinterrogation
suggests that StanleychasesPetey from the houseso that he candrive Megcrazy, and
that he treats Lululikea leper. Whenthey ask whyhe cametothe boardinghouse,Stanley
claimsitwas becausehisfeet hurt. Theyaccusehim ofbetraying their“organization,” of
beinga traitor to the cloth, andof changinghisname.Theyclaim helefta girlat the altar,
but alsoclaim thathe oncehada wife whom hekilledeitherby poisonor by beatingher to
death. Stanleyvehementlydeniesallof these claims.GoldbergandMcCann’squestions
growirrational,and includequerieslike“whydid the chickencrosstheroad?”and“who
wateredthe wickin Melbourne?”Goldbergasksthe differencebetween“thepossibleand
the necessary.” Theyaccusehim oflecheryandof mother-defiling.Theyinsisthe is dead
becausehedoesnot truly live. When they tell him heis nothingbut an "odour," Stanley
suddenlycomestolifeand kicksGoldberginthe stomach.Beforethey canreact,Meg
comesdownthestairs beatingthe drum.
Megenters the room dressedfor the party. She placesthedrum on the table, andthe
scene'smoodimmediatelybrightensas Goldbergresumeshissuavedemeanor.McCann
helpsStanley pourthe drinks. Stanleyis overwhelmed,but calm.GoldbergslapsMegon
her behindina playful mannerashe admiresherdress, andencouragesMegtogive a
toast. Meghesitantlybut affectionatelytells Stanleythat sheis happyheis staying at her
boardinghouse,andthathe is her Stanleynow even if he pretendsotherwise.She starts to
cry.
Luluenters. Thereisan immediateattractionbetweenGoldbergandLulu.Thepartyguests
pairoff (Luluwith Goldberg;McCannwithMeg;Stanleyremainsalone),andthedialogue
shifts betweenthe two couples.GoldbergandLuluengageinaconversationfilled with
sexualinnuendosrevolving aroundchildhoodimageryandchildren’sgames.Lulu
confessesthat she likesoldermen,and sits on Goldberg’slapwhilehebouncesher.She
wonderswhetherGoldbergknewherwhenshe was a child,andsays heremindsherof the
first mansheever loved. Meanwhile,MegandMcCannspeakdrunkenlyofIreland, and
Megconjecturesthather father mighthave gonethere after he abandonedthefamilywhen
she wasstill a child.
Thetalkof childhoodinspiresMegtorequesta game.Theydecideonblindman’sbuff,and
Megblindfoldsherselfandstumblesaboutthe room searchingforthe others. She stumbles
acrossMcCann,whothendonsthe blindfoldwhileGoldbergfondlesLulu.McCannfinds
Stanleyand ties the blindfoldonhim.In the process,he maliciouslybreaksStanley's
glasses.While Stanleystumblesaroundthe room,uncharacteristicallysilent,McCann
placesthetoy drum onthe floor, and Stanleysteps in it. Onefoot in the drum,he continues
to meanderuntilhecomesacrossMeg.Suddenly,Stanleylashes out andtries to strangle
her. GoldbergandMcCannrushforwardandrescueher. Then,thelightsgo out.
Confusionensuesas the charactersbumpintooneanother.McCannloseshisflashlight,
whileLuluscreamsandfaints. In the dark, Stanley placesheronthe table. When McCann
finallyfinds his flashlight,he shinesit on the table, whereStanleystands over Lulu,who is
unconsciouswithherlegsspreadopen. It resemblesasexualassault. As he is struckby
the light, Stanleybeginsto giggleandretreats towardsthe kitchen.GoldbergandMcCann
slowlyapproachhim,andfinallyconverge on him as hecontinuesto laugh,louderand
louder.
ThecurtainclosesonActII amidconfusionandchaos.
Analysis :
ThemostprominentconflictinAct II is that betweenorderand chaos.Theactopenswitha
symbolof ordertaken to an almostperverse extreme- McCannmethodicallytears the
newspaperintoidenticalstrips.Thesymbolserves as representationof howhe and
Goldbergapproachtheir"job"- they areinsidiousanddeliberateintheir infiltrationof the
house,and not too quickto maketheirmove. Interestingly, this samesymbolwillrepresent
the chaosthey leave behind whenit resurfacesinAct III.
ThetensionbetweenStanleyandMcCannalsoreflectsthisconflict.Onthesurface, both
mendotheir best to subscribetosocialconvention.Stanleyis clearlyunnervedand
paranoid,andyet willnot deliberatelyaccuseMcCannofwhathe suspects.Instead, he

10. attempts to talk aroundthe perceivedthreat, whichfurtherreflectsthe play's themeof
imperfectcommunication.Similarly,McCannremains civildespiteStanley'sbad attitude, at
least until the latter touchesthe newspaper.By threateningto disruptthe semblanceof
order, Stanleyinsults McCann andleadshim towardsviolence.
OnceStanleyhasdisturbedtheir semblanceoforder, hetakes an offensive tactand tries to
dictatethe termsof the conversation.Heinsists uponhis version of hisown past, in effect
defendinghimselfagainstaperceivedthreat. Theaudienceisleft to fill inany details - is
Stanleytellingthe truth? what are the sins McCannthinkshim guiltyof? - even as Stanley
demandshisversion is the absolutetruth. Questionsof identity, of whowe thinkourselves
to be and whowe truly are, resurfaceinthis Act. Whereas inAct I, Stanley andMeg's
conversationtouchedondubiousrealitiesbuthadlow stakes, the stakes here are much
higher.We perceivethat Stanleycouldbehurt if hecannotconvincethesemento accept
his version of his past. Theideaof an impreciseidentityis reinforcedinStanleyand
McCann'sexchangeoverprevious acquaintance -McCanninsiststheyhave never met
before, despiteStanley's insistencetothe contrary.
ThoughPinterdoesnotgive us detailson Stanley's past, Stanley's behaviorduringthis
exchangesuggestssomepastsin or crime.He is extremelyparanoideven as hetries to
maintainanairof civility, and insists preemptivelythat hedoes not seem the type of man
whowouldever causeanytrouble. Toconfronttheperceivedthreat wouldbeto break
decorum andriskviolence,so Stanleyrelieson innuendoandsubtextto communicatehis
point. McCann,aparagonoforder andcalm here,is unfazed.
Ultimately, the openingconversationisamasterpieceoftheatricalconversation.Thereare
manyinterpretationswecanmake,but we canonlyconjectureonmotivations.Thesudden
shifts of intention,tone, and subjectinthe dialoguecreatethroughperformanceanuneasy
feeling,a sense that nothingwe seeis easily categorized.Whileevery bit of the
conversationis easyto understandonits own, the overachingsubtext - what is reallygoing
on - is elusive. Words do not captureourmeaning,theplay suggests. Instead, they become
a trap that failsto properlyexpress our worriesandemotions.Theonlyact that truly shifts
the powerdynamic isMcCann'sassault.Whenhe hits Stanley, both menunderstandfor a
momentwhatis goingon.However, oncetheyreturn to language,the confusionand
disorientationresumes.
Goldbergofferssimilarlyironic contradictions.A masterof language,heknowshow to make
peoplerespondto him.Both men,likePetey, andwomen,likeMegandLulu, respondto his
suave ways. And yet behindthisseemingcontrolisa senseof gleefulchaosandviolence.
He useshis control of orderlylanguagetodisguisea viciousintent. Clearly, he is not a
hitmaninsistenton efficiency.If hewere, he andMcCanncouldeasilyoverpoweror kill
Stanley. Instead, he attemptsto manipulatethesituation,to forceStanleyinto a madnessof
paranoia.Goldbergintentionallycreateschaos,butdoesso by manipulatingtheorderliness
of language.
Thissenseis apparentfrom the momentheentersthe Act, with Petey. Hisstory abouthis
motheranda formerlover seemsto profess properattitudes onwomen,even as it
unnerves Stanley. SomescholarsofTheBirthdayParty proposethat Stanley’s past crime
involved a woman,eitherhiswife or a young Irish girl. Thisinterpretationissupportedboth
by this story andby several referencesduringtheirinterrogationscene.Theymentionthat
he wasonce married,andmighthave eitherkilledhis wife or left a womanat the altar. That
they contradictthemselvesisnot important- it's only language,after all - but what is
importantis the repeatedmotifof violencetowardswomen.
Further,Stanley's attitudes helpsupport this theory. Not onlywas he emotionallycruel
towardsMegin Act I, but in Act II, heattempts to strangleher before preparingtosexually
assaultLulu. Stanleyis driven to a sort of madnessbyhis oppressors,but rather than being
the causeof this behavior, the madnessarguablyenablesStanleyto actout his true self. As
with anyinterpretationof this play, it is impossibletoprove definitively, thougha repeated
crueltytowardswomendoessupportthe ideathat Stanleyis guilty of suchcrimes.
Oneof the play's most famousscenesisthe interrogation,for several reasons. Most
prominentisPinter's use of languageandoverlappingdialogue.Theinterrogationbegins
with somewhatlegitimatequestions,butquicklyfalls into a surreal mirageofridiculousness.
Both tactics,comingsoquickontopof oneanother, serve to deepenStanley’sparanoia,
andlay the foundationfor his nervous breakdownat the endof Act II. In performance,this
sceneplays quicklyandviolently, withthe ridiculousnessofthelanguageonlyreinforcing
the sinister, torturous intent of the characters.Again,what they say is less affectingthan the
way they say it, the true motivationbehindthe meaninglesswords.
Thereisalmosta senseof a confessionintheinterrogation.OnceStanleysubmitsto their
judgment,heis quicklyannihilated.Thissuggestsasenseof unconfessedguilt,especially
sincetheirassessmentof him is neithertotally flawednor totallytruthful. After all,they
contradictthemselves,buthe lacksthe fortitude to argue.Instead, the interrogationforces
him intoa stuporthat willnot ceaseuntilhebreaks downduringthe game.Hewillnever
againbe the loquacious,arrogantfellowofAct I. He nowhas to lookinwardandconfront
whatever sins he hasinternalized. What he has doneis never revealed - that he has done
somethingisbeyond question.
Theoneremarkthat doesenliven Stanleyis the accusationthatheis only "an odour."By
this point of the interrogation,Stanelyhas beenreducedtoa groaninganimal,butthe fear

11. of death evoked by this claim isstrongenoughto forcehis resistance.Theyhave pushed
him too far and they prepareto be attacked,beforethey are saved by Meg'sentrance.
Suddenly, orderresumes.Thescenequicklydissolves intocivility oncemoreasGoldberg
againevokes a brightertone. As the party kicksinto gear, Goldbergcontrolstheroom
throughhis commandoflanguage,whileStanleyremainsina stupor. Orderandchaos
sharethe stage, andwhilemostof the charactersaredrawntowardsGoldberg'scontrolled
order, the audienceisawareof the chaosinStanley, whichcreatesasuspenseandtension
as counterpointtothe civility of the celebration.
Meanwhile,thethemeofsexuality andthe objectificationofwomencontinuestomanifest
throughGoldberg'sactions.Hespeaksto Luluas a little girl,a role she quicklyaccepts
whenshe bouncesonhisknee. It is a sickparodyof the father/daughterrelationship,a
parallel to Meg’sstrange,sexualmother/sonrelationshipwithStanley. What a contradictory
andconfusingimage,especiallysinceGoldberghascomesupposedlytopunishStanley for
similarcrimes.However,Goldberg'shypocrisywouldnever botherhim - after all, his
atonementisnot at issue.
Finally,blindnessbecomesamotifin this Act. Thefinalactthat breaks Stanleyis the
destructionof hisglasses, whichleaveshim blindto the world.Thedarknessof the blindfold
reflectshis confusionoverthe reasonsfor his torture, and is further manifestinthe
darknessthat overtakes the room.
However, whenlight is finallybroughtback,we see Stanleyas he truly is, ready to repeat
somekindof violence.Theactclosesonchaos -orderhas brokendown, andthe truth of
Stanley's uglinesshascometolight. Theorderhehas maintainedfortheseyears on the
boardinghousehasprovedas fragileas the drum.
Act III issetthe next morning.
Petey sits at the kitchentablereadinghisnewspaper.Megcallsoutto him,thinkinghe is
Stanley. When sheenters and realizesit's Petey, sheconfessesshe hasrun out of
cornflakesandthat she has a headachefrom theparty. Shealso tells Petey that the drum is
broken.He reassuresher that shecanalways get anotherone.
Megwants to call Stanleydownto breakfast, but Petey stops her, saying, “let him sleep…
this morning.Lethim sleep.” MegmissesPetey’s cryptic tone, and tellshim howshe tried to
bringStanley histea earlier, but wasstopped inthe hallwayby McCann,whoinformedher
that Stanley hadalreadyhad tea. Peter interrupts herstory to ask whenshe willgo food
shopping.Shehurriesout the doorfor that purpose,but quicklyreturns with newsthat a car
is parkedoutside. Frightened,sheasks if Petey had lookedinthe carand noticedwhether
there was a wheelbarrowinit. WhenPetey tells her it's Goldberg'scar,sheis relieved.
Just as Megpreparesto leave again,shehears footsteps on the stairs andthinks it is
Stanleycomingdownforbreakfast. She flutters about,distressed that she cannotoffer him
cornflakes.However, it turns out to beGoldberg,whichupsetsMeg.Goldbergassuresher
that Stanley willbe downeventually. Meg asks him questionsabouthiscar, but Goldberg
ignoresher andinsteadspeaks to Petey about the car'sreliability.
After Megleaves, Petey asks GoldbergaboutStanley, and GoldbergexplainsthatStanley
suffered a nervous breakdownat the party. Thoughhe cannotexplainwhyor howit
happened,Goldbergiscertainthatis the case.Petey explainshowhe camehomethenight
beforeto find the lightsout, andhadto put a “shillinginthe slot” to reactive the power.He
then ran intoMcCann,whofirst told him aboutwhat happened.GoldbergsensesPetey's
worry andreassureshim that they willconnectStanleywitha fellow namedMonty,whom
Goldbergconsidersthebest doctoravailable.
Petey argueswith Goldberg,suggestingStanleyshouldstay at the boardinghouse,but
Goldbergquicklydismisseshisoffer. Petey exits to the kitchenas McCannenters.Hehas
packedtheirbagsand is anxiousto leave. He refuses to “go up there again,”andsays
Stanleyis trying to shove his brokenglassesinto his eyes. Petey reappearsandoffers to fix
the glasseswith Sellotape,but Goldbergagainrefuseshishelp.
Petey says he has to tend the peasin the garden,but asks to be calledwhenStanley
comesdown.However,Goldbergisadamantthat Petey shouldbe gonewhenthey leave,
andin a pleasantbut anxioustone of voice, he suggeststhat Petey goto the pierto set up
the deckchairsfor tourists. Petey says he’s fine whereheis, andthen exits to the garden,
leavingan exhaustedGoldberg.
McCannpicksupPetey’snewspaperandbeginsto shred it into strips. Goldbergdemands
he stop, callingtheactivity childish.McCannsayshe “wantsto get it over,” and asks
GoldbergwhetherheshouldbringStanleydownstairs.Goldbergignoresthequestion,and
insteadtells McCannthathe feels “knockedout.” Angry at beingignored,McCanngrabsthe
backof Goldberg’schairandshoutsat him to “get the thingdone.” When Goldbergdoesnot
respond,McCanncallshim "Nat,"and whenthat does not elicitaresponse, callshim
“Simey.” Goldberg reactsimmediatelyandviolently at this name,screaming“nevercallme
that” as he seizes McCannbythe throat.
Backpedaling,McCanndeniesusingthename,andthenasks if heshouldfetch Stanley.
Instead of answering,GoldbergasksMcCanntolookinhis mouth,and thenclaimshehas

12. never been sickandstill has allof his teeth. Goldbergnextreminiscesabouthisfather,
whosedeathbedwordswere, “never forget your family, for they are the rock,the
constitution,the core!”Goldbergramblesabit, and thenasks McCanntoblowinto his
mouth,whichMcCanndoestwicewithoutquestion.TheactivitycalmsGoldbergdown.
Luluenters, and McCannleavesthem alone,promisingtoreturnwithinfive minutes.Lulu
accusesGoldbergofusingher for his perverse, sexualgames.He swearshe has never
touchedanotherwoman,butshe doesnot believe him.Shewonderswhat her father would
think of their sexual activity, whichshedoesnot describe.Sheclaimsthatherfirst lover,
Eddie,was respectful andnever usedher as Goldbergdid,for a “passingfancy.” Goldberg
insists their liaisonwasconsensual,butshecountersthat he took advantageof her while
her defensesweredown. She alsomentionsamysterious briefcasethatGoldbergbrought
andwhichsheopenedout of curiosity. When McCannentersandhearshermentionthe
briefcase,hethreateninglyasks herwhethershe has anything to confess.Goldbergsenses
her confusionandaddsthat McCannhasonlybeen“unfrockedfor six months.”McCann
chasesheraway, andthe men's conversation returnto Stanley’s condition.
McCannleavestheroom,and quicklyreturns with a clean-shavenStanley,who holdshis
brokenglassesin his handsas he sits quietlyin a chair.GoldbergcomplimentsStanley's
appearanceandpromisestobuy him anew pairof glasses.He andMcCannthentry to
enticeStanleyto accompanythem of hisown free will.Theypromisethey wantto carefor
him,to save him from a fate worsethan death, andto makeamanout of him.In an assault
that mirrorsthe Act II interrogation,they bombardStanleywith promiseswhichgrowmore
ridiculousasthesceneprogresses.Forexample,they promisetogift him earplugs,
stomachpumps,andcrutcheswhiletheyhelphim skiprope.
Duringtheir speeches,Stanleyremainsimmobile,hisgazedistant. Goldbergkindlybut
firmlydemandstoknow howStanley feelsabout their offer to take him away. After a few
momentsofsilence,Stanleyattemptsto speakbut canonlymuster gurglingsounds.He
continuestotry, but ultimatelydropshis chinto hischest, converginginonhimselfas he
producesnonsensewordsandsounds.
Goldberggentlytakes Stanley in handandleadshim towardsthe door.Meanwhile,Petey
has arrived, unnoticed,andinsiststhey leave Stanleyalonewith him.Goldbergand
McCannthenturntowardsPetey andinsidiouslysuggestthat he shouldaccompanythem
as well.ThoughPeteydoesnot stop them from leavingthe house, he doesshout, “Stan,
don’tlet them tell you what to do!”
Petey turns toward the tableand sits down.He picksup hisnewspaperandbeginsto read.
Megenters andasks after Stanley. With trepidationinhis voice,Petey liesandsays Stanley
is still sleeping. Megtellshim that she hada lovely timeat the party, forgettingthat Petey
was not there. In her closingremark,Meginsiststhat she wasthe bellof the ball,and Petey
agreeswith her assessment.
Analysis :
As a whole, the structureof TheBirthdayParty seemsvery traditional.Therearethreeacts,
arrangedinchronologicalorder,andthe first and third actsparalleloneanother.Both Act I
andAct III beginwithMegandPetey's morningroutine,althoughActIII reflectsthe play's
descentintodepravity. Megdoesnot have breakfast to serve in Act III, andshe is frantic to
remedythe oversight. As an interestingsidedetail, she doesremembertopourPetey's tea,
whereasshe forgot inAct I. Becauseof whatshe has gonethroughsinceAct I, Megis
ungrounded,notso easilysubmergedintothe superficialroutineofthe beginning.
In manyways, Petey is the centralcharacterofAct III, sincehechangesduringit. At the
beginning,whenMegrealizesthat the drum has beenbrokenbut doesnot rememberhowit
happened,Peteysimplytells hershe canget anotherone. Thereisa bit of dramatic irony
sincethe audiencerealizesthat the drum representsStanley - muchasit is broken, so is he
mentallyunstable.Petey's growthin the Act is realizingthat whileMegcouldconceivably
get a new boarderlikeStanley, hisparticularabsencewilllikelyshatterher fragileworld.
Theplayendswith hislie to her, a lie intendedto prolonghereventual breakdown.
ConsideringtheimplicationsthatPetey mighthave a senseof the strangeMeg/Stanley
relationship,hisdesireto maintainherillusionrevealshis discoveryof Stanley's importance.
If she falls apart, thentheir pleasant,comfortablelifemightalsofallapart.
Petey is also centralbecausewerealizehemightalways have had someintuitionof this
world'ssinister nature. Hehas largelybeen absent from the playthus far, and inmanyways
is pitiablefor beinga potentiallywillingcuckold(somethingGoldbergandMcCannsuggest
to Stanley duringtheirAct II interrogation).Yet Petey reveals an astuteness inAct III
throughhis conversationaboutStanley's mentalbreakdown.Thefactthathe is not
surprisedto hear Goldbergsuggestitgives us reasonto suspecthe hadseen indicationsof
mentalproblemsbefore.
When we learnthat Petey is an accomplishedchessplayer,the symbol helpsus to
understandhim.Heseemsto knowmorethanany other singlecharacter.Heknowsthat
GoldbergandMcCannarenotwhat they seem;he knowsthat Stanleymighthave mental
problems;heknowsthat his wife's mentalproblemsmightbeexacerbatedifhewereto end
her affair with Stanley; and he realizeswhenhe cannotwinthe battle to keep Stanley
around.And yet he choosesto live in a pleasantstupor, to not addressany of these
problems.Certainly,this canbe interpretedas cowardice,butit is not accidental.Likea

13. chessplayer, he knowshow to strategize, and haschosenalife of pleasantcomfortover
potential difficulties.Hechoosesnotto live, in the sense that GoldbergaccusesStanleyof
in Act II, but it is a choice.Whenheyells to Stanley, "don't let them tell you what to do," he
is in manyways describinghisownlife, onein whichheengagesnobodyandhencehas
little responsibility.He is cowardlysafe inhis domestic delusion,butit is hisown choice.
TheAct is full of sinisterimagesandsituations. Meg'sdiscoveryof the blackcarbringsa
theatrical mystery to the fore, andshe immediatelyinterpretsit as a sign of her own
breakdown.SheremembersStanley'sthreat to have her taken awayin a wheelbarrow,and
worriesthis caris intendedfor that purpose.As a vehicleintendedto removedebris from
placetoplace,the wheelbarrowrepresentsmotionofunworthyobjects.Meg'sfear of the
wheelbarrowreflectsnotonlyher fear of her own irrelevance,butalso herfear of
movement,of changefrom the comfortwhereinshecanmaintainherdelusionsof
importance.Whatis ironic isthat Stanley's threat has cometruenot for her, but for himself.
And yet her fear over the blackcarisnot misplaced -aswe canintuit from the earlierActs,
Stanley's absencemightinfactcompromiseherown sanity.
Goldbergalsorevealsthe depth of his sinister potentialinAct III. Heis ableto maintain
someairof charm,apparentwhenheassuagesMeg'sconcernsaboutthecar, but he
refuses to answerany questionsaboutit. His silenceaboutcertaindetailsonlydeepensthe
auraof dreadthat permeatesthe play, both in termsof the carandin termsof other details,
likethe briefcaseor hispurposefor Stanley.
Mostsinister is Goldberg'sownbreakdown.Hisworldis clearlycomingundone,mostlikely
as a result of whatever sexual behaviorhe forceduponLulu.Whereas hehas shown
nothingbut suave detachmentinActs I andII, heis is a wreckin Act III, "knockedout" and
undone.He is unnervedby suchfeelings,sincehehas never been sickbefore.He lackshis
characteristiccontrol,evenlashingout at McCannforcallinghim "Simey."Is this sickness
perhapsa signof a guiltyconscience?Orhashis liaisonwithLulusubmergedsome
childhoodneuroses?As he mentionedthename"Simey"as a namefrom his past, this
latter interpretationcouldcertainlybedefended.
What Goldberg'sbreakdownrevealsis that every personis reliantupon hisown delusion,
andhencesubjecttopain anddifficultywhenthat delusionfalters. Thoughhehas
presentedhimselfasstrong and untouchable,Goldbergcentershisworldarounda
pretenseof familymorals,of a nostalgiaforthe “olddays” whichwerebetter, bigger,and
morerespectful.Consideringthewayhe speaksof hismotherin Act II, it is possibleto
interpretthis delusionasan expressionofchildhoodandcontrol.Indeed,heshowsa desire
to be somethingofa parent both to Stanley, whom heforcesinto an infantilestate of
confusionandfear, andto Lulu,whohe treated as a daughterin Act II and then as a
prostitute in Act III. Lulu'sconfrontationleadsGoldbergintofurtherlies abouther
compliance,asituationhedoes not handlewelluntilMcCannfinallychasesheraway.
Interestingly, hisfinal tactic isto elicitaconfessionfrom her.In a worldwherewe are guilty
of our own delusionsandsins,forcedconfessionbecomesathreat.
Stanley's situationalsoreveals the sinisternature of the play. Ironically,he is most
frighteningbecauseheissuddenlyso presentable.Therepriseoftheir Act II interrogation
nowhas the sense lessof attackand moreof a bedsidevigil. All of his delusionsshattered,
Stanleycanonly receivethese promisessilently.With repeatedreadingsorviewings of the
play, anaudiencemightrealizehowStanley's breakdowncouldbeanyperson's fate if heor
she wereforcedto confronthis or her past sins anddelusionstooforcibly. From this
perspective,the sceneis even morehorrifying.
At the end, Megremainsblissfullyunawareofthe situation. It is tellingthat the play ends
with a confirmationofherdelusion.Thefinalexchangeisfullof dramatic irony- she has
constructedarealitythat we know to be false, both becauseMegwasnotthe belleof the
ball,and becausePeteywas not thereto knowit. Theplayends with a scenarioof
ambiguityanddelusion,whichfallsperfectlyin linewith the themes it exploresthroughout.
In a publishedspeechentitled“Writingfor the Theatre,”Pinteroffered that Petey’s
exclamation -“Stan,don’t let them tell you what to do!” - definedhis mindset,hisplays, and
his entirecareer.NeitherPinter nor hischaractersconform toestablishedmeansof
interpretation,andhe makesevery effort to avoid easy answersthat couldbeinterpretedas
the author's moralmessage.Instead,we areto leave Pinter's plays - TheBirthdayParty
included -unsureexactlywhat is true, bothabout the characteronstageandabout
ourselves.