As part of our celebration of the life and work of Harold Pinter we’ve opened a bookshop in our theatre foyer!

It features the brand new anthology from Faber & Faber: The Short Plays of Harold Pinter and in which you will find every one of the plays performed throughout the season from The Room, which was first performed in 1960, to Celebration, which premiered in 2000.


Please come and have a browse at our selection of Pinter titles including…

Harold Pinter Plays 1 is an authoritative edition of his first six plays, from The Birthday Party, The Black and White and The Room, to The Hothouse, A Night Out and The Examination.


Michael Billington’s biography of Harold Pinter
Billington brings up to date The Life and Work of Harold Pinter with an additional chapter and plate section covering the years 1996-2006.


The Pres and an Officer was discovered by Antonia Fraser in autumn 2017 on one of the yellow pads Harold Pinter used for writing.

 ‘What would Harold have thought of Trump?’ People are always asking me that question. (He died in 2008, eight years before Trump’s election.) Now we know. As it were.

— Antonia Fraser



Following the events of one single day in Dublin, the 16th June 1904, and what happens to the characters Stephen Dedalus, Leopold Bloom and his wife Molly, Ulysses is a monument to the human condition. It has survived censorship, controversy and legal action, and even been deemed blasphemous, but remains an undisputed modernist classic: ceaselessly inventive, garrulous, funny, sorrowful, vulgar, lyrical and ultimately redemptive. It confirms Joyce's belief that literature 'is the eternal affirmation of the spirit of man'.

Pinter on James Joyce:
“I read Ulysses every night when I go to bed. If I'm going to read for a couple of minutes, I have Ulysses by my side. It gives me great joy.”


The Trial
A terrifying psychological trip into the life of one Joseph K., an ordinary man who wakes up one day to find himself accused of a crime he did not commit, a crime whose nature is never revealed to him. Once arrested, he is released, but must report to court on a regular basis – an event that proves maddening, as nothing is ever resolved. As he grows more uncertain of his fate, his personal life – including work at a bank and his relations with his landlady and a young woman who lives next door – becomes increasingly unpredictable. As K. tries to gain control, he succeeds only in accelerating his own excruciating downward spiral.

Pinter on Kafka
“Kafka had an undeniable influence on me in my early life. The Birthday Party obviously owes a great deal to Kafta” (Harold Pinter on The Trial, BBC 4)


The Complete Dramatic Works of Samuel Beckett
The present volume gathers all of Beckett's texts for theatre, from 1955 to 1984. It includes both the major dramatic works and the short and more compressed texts for the stage and for radio.

Pinter on Beckett:
“I don’t think there’s been any writer like Samuel Beckett. He’s unique. He was a most charming man and I used to send him my plays.”


Our Israeli Diary: Of That Time, Of That Place
In May 1978 Harold Pinter and Antonia Fraser visited Israel at the time of the 30th Anniversary of Independence. It was three years after they first lived together; neither had set foot in Israel before. Based in Jerusalem, they toured many of the country’s historic sites: from Bethlehem to the fortress of Masada, encountering future Prime Minister Shimon Peres, Mayor of Jerusalem Teddy Kollek, Jackie Kennedy and a long-lost cousin of Harold’s on a kibbutz. It was a trip during which Pinter’s feelings about his heritage emerged for the first time. As he said himself: ‘For the first time I feel Jewish’.

Pinter on Antonia Fraser:
My everlasting bride, Remember that when I am dead, You are forever alive in my heart and my head.”
(Poem (to A) from Various Voices)


"An ear for reproducing everyday language has long been David Mamet's hallmark and he has now employed it to skewer the dogmatic, puritannical streak which has become commonplace on and off the campus. With Oleanna he continues an exploration of male-female conflicts begun with Sexual Perversity in Chicago in 1974. Oleanna cogently demonstrates that when free thought and dialogue are imperilled, nobody wins."

(Michael Wise, Independent) In Oleanna "John and Carol go to it with hand-to hand combat that amounts to a primal struggle for power. As usual with Mamet, the vehicle for that combat is crackling, highly distilled dialogue unencumbered by literary frills or phony theatrical ones." (Frank Rich, International Herald Tribune)

Pinter on Mamet:
“There can be no tougher or more unflinching play than Oleanna… It's dramatic ice."