Abstract
Drawing on archival materials from the Royal Court and the Harold Pinter collections, Saunders looks at Pinter’s Ashes to Ashes (1996) as the inaugural event to launch the English Stage Company’s (ESC) residency in the West End while its Sloane Square home underwent major renovation. Lasting from 1996 until 2000 the residency coincided with the high-water mark of In-Yer Face theater, where work including Mark Ravenhill’s Shopping and Fucking (1996) and Sarah Kane’s Cleansed (1998) shared close associations with the ESC. The chapter seeks to reassess not only Harold Pinter’s relationship to these dramatists but also the Royal Court itself after 2000.
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