By Jennifer Haley
The Nether, a bold exam of ethical accountability in digital worlds, opens with a well-recognized interrogation scene given a technological twist. As Detective Morris, an internet investigator, questions Mr. Sims approximately his actions in a role-playing realm so real looking it may be existence, she reveals herself on slippery moral floor. Sims argues for the liberty to discover even the main deviant corners of our mind's eye. Morris holds that we won't flesh out our malign fantasies with no end result. Their conflict of wills ends up in a end result neither may have imagined. Suspenseful, ingeniously developed, and fiercely clever, Haley’s play forces us to confront deeply traumatic questions about the bounds of reality.
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Extra info for The Nether: A Play
Rose does not know what the time is, the Sands disagree as to how long they have been in the house, and Mr Kidd goes as far as to say: 'It'll be dark soon. ' The play is pervaded by an uncertainty about time within the confines of a seemingly reasonable and naturalistic period of duration. In The Room, stage time and actual time are ostensibly equivalent. On the surface, at least, it is a play which conforms to the three unities, though as we have seen its internal time is variable and partially governed by the use of pauses, silences and visual images.
We have no way of knowing. However, this is a feature of characterisation used so liberally by Pinter that a point is missed if it is given too much emphasis in this particular case. What is more significant is how relentlessly and precisely Goldberg pinpoints these 'reminiscences'. ' This last phrase indicates that there is nothing arbitrary about the sequence of events in his life (in stark contrast perhaps to the muddled sequences in the lives of the other characters, especially Stanley). This exactness should undermine the credibility of what he says, since two other accounts (those referring to his walks with a Sunday school teacher and the dinners prepared by his wife) also specify Friday as the day of the week on which certain presumably regular events took place.
41 In the longest silence to open a Pinter play, Mick works his way through an elaborate mime. Then we hear voices, and Mick moves silently to the door, goes out and closes it quietly, leaving us to anticipate a meeting that will not actually take place until the end of Act I. John Russell Brown has drawn our attention to the fact that, whatever motivation Mick has for looking at each of the objects in the room in turn, then remaining silent and expressionless, something other than dialogue is holding our attention: 34 Harold Pinter: A Question of Timing Pinter is aware that physical performance expresses inner conflicts and resolutions.
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