The Homecoming

About the show

After having lived in the United States for six years, Teddy brings his wife, Ruth, home for the first time to meet his working-class family in North London, where he grew up, and which she finds more familiar than their academic life in America. The two married in London before moving to the United States. Much sexual tension occurs as Ruth teases Teddy's brothers and father, and the men taunt one another in a game of one-upmanship, resulting in Ruth's staying behind with Teddy's relatives as "one of the family" and Teddy returning home to their three sons in America without her. The play begins in the midst of what becomes an ongoing power struggle between the two more dominant men: the father, Max, and his middle son, Lenny. Max and the other men put down one another, expressing their "feelings of resentment", with Max feminising his brother Sam, who he intimates is homosexual, while himself claiming to have himself "given birth" to his three sons. Teddy arrives with his wife, Ruth. He reveals that he married Ruth in London six years earlier and that the couple subsequently moved to the U.S. and had three sons prior to this visit to the family home ("homecoming") to introduce her. The couple's mutual discomfort with each other, marked by her restless desire to go out exploring after he has gone to sleep, followed by her sexually suggestive first-time encounter with her dangerous, and somewhat misogynistic, brother-in-law Lenny, begin to expose problems in the marriage. She strikes a nerve when she calls him "Leonard"; he tells her that no one, aside from his late mother, has ever called him that. After a sexually charged conversation between Lenny and Ruth, she exits. Awakened by their voices, the patriarch Max comes downstairs. Lenny does not tell Max about Teddy and Ruth's arrival at the house and engages in more verbal sparring with Max. The scene ends in a blackout. When the lights come up the scene has changed to the following morning. Max comes down to make breakfast. When Teddy and Ruth appear and Max discovers they have been there all night without his knowledge, Max is initially enraged, assuming that Ruth is a prostitute. After being told that Ruth is his daughter-in-law, Max appears to make some effort to reconcile with Teddy. This act opens with the men's ritual of sharing the lighting of cigars after lunch. Teddy's cigar goes out prematurely, the symbolism of which is clear. Max's subsequent sentimental pseudo-reminiscences of family life with his late wife, Jessie, and their "boys" and his experiences as a butcher also end abruptly with a cynical twist. After Teddy's marriage to Ruth receives Max's blessing, she relaxes and, focusing their attention on her ("Look at me"), she reveals some details about her previous life before meeting Teddy and how she views America. After Max and his brother, Sam, exit, Teddy abruptly suggests to Ruth that they return home immediately. Apparently, he knows about her history as "a photographic model for the body" about which she reminisces when talking to Lenny alone after Teddy has gone upstairs to pack for their return trip to the United States. When he returns with the suitcases and Ruth's coat, he expresses concern about what else Lenny may have got Ruth to reveal. As Teddy looks on, Lenny initiates dancing "slowly" with Ruth. With Teddy, Max, and Joey all looking on, Lenny kisses Ruth and then turns her over to Joey, who asserts that "she's wide open"; "Old Lenny's got a tart in here". Joey begins making out with Ruth on the sofa, telling Lenny that she is "Just up my street". Max asks Teddy if he is "going" so soon. He tells Teddy, "Look, next time you come over, don't forget to let us know beforehand whether you're married or not. I'll always be glad to meet the wife." He says that he knows that Teddy had not told him that he was married because he was "ashamed" that he had "married a woman beneath him", just before peering to look at Ruth, who is literally still lying under Joey. Max adds that Teddy doesn't need to be "ashamed" of Ruth's social status, assuring Teddy that he is a "broadminded man", and "she's a lovely girl. A beautiful woman", as well as "a mother too. A mother of three." Contrary to the concurrent action, even more ironically, Max observes that Teddy has "made a happy woman out of her. It's something to be proud of". Right after Max further asserts that Ruth is "a woman of quality" and "a woman of feeling", Joey and Ruth, clasped in their ongoing embrace, literally roll off the sofa on to the floor. Suddenly pushing Joey away and standing up, Ruth appears to take command, demanding food and drink, and Joey and Lenny attempt to satisfy her demands. After Ruth questions whether or not his family has read Teddy's "critical works" — a seemingly absurdist non sequitur, or perhaps just a jibe at her academic spouse (the answer to which, in either event, is a foregone conclusion) — Teddy defends his own "intellectual equilibrium" and professional turf. Ruth and Joey go upstairs for two hours but Joey, who comes down alone without her, complains that Ruth refused to go "the whole hog". With Ruth still upstairs, Lenny and the others reminisce about Lenny's and Joey's sexual exploits. Lenny, who the family considers an expert in sexual matters, labels Ruth a "tease", to which Teddy replies, "Perhaps he hasn't got the right touch." Lenny retorts that Joey has "had more dolly than you've had cream cakes", is "irresistible" to the ladies, "one of the few and far between". Lenny relates anecdotes about Joey's sexual prowess with other "birds". When Lenny asks Joey, "Don't tell me you're satisfied without going the whole hog?", Joey tentatively replies that "sometimes" a man can be "happy" without "going any hog". Lenny stares at him. Joey seems to be suggesting that Ruth is so good at "the game" that Lenny ultimately gets the "idea [to] take her up with me to Greek Street". Max volunteers that Ruth could come to live with the family, suggesting that they "should keep her" while she works for them part-time (as a prostitute). The men discuss this proposal in considerable detail, seemingly half-joking to irritate Teddy and half-serious. Sam declares the whole idea "silly" and "rubbish". Teddy adamantly refuses to "put" anything "in the kitty", as Max asks, and Lenny suggests that Teddy could hand out business cards and refer Americans he knows to Ruth when they visit London, for "a little percentage". Teddy does not decline outright but neither does he affirmatively agree to the idea. Teddy also says, in the play's only poignant turn of phrase, "She'd get old... very quickly", which concern Max dismisses, citing the new National Health Service. Ruth comes downstairs, dressed. Teddy is still waiting with his coat on and their packed suitcases. Teddy informs her of the family's proposal, without going into explicit detail about their intention to engage her in prostitution, saying euphemistically that she will "have to pull [her] weight" financially because they are not "very well off"; then he offers her a choice to stay in London with the family or to return to America with him. Ruth understands exactly what is being proposed and appears very open to the proposal. She inflexibly negotiates her demands, including a three-room flat and a maid as the terms of a "contract" with Lenny, all of which must be finalised in writing with signatures and witnesses, leaving Lenny nonplussed but hapless. Ruth clearly is adept at getting what she wants and Teddy prepares to return to America without her. Having spoken up a few times earlier to voice his objections, Sam blurts out a long-kept secret about Jessie and Max's friend MacGregor, then "croaks and collapses" and "lies still" on the floor. Briefly considering the possibility that Sam has "dropped dead" and become a "corpse", the others ascertain that he is still breathing ("not even dead"), dismiss his revelation as the product of "a diseased imagination", and ignore him thereafter. After a pause, Ruth conditionally accepts their proposal. Teddy focuses on the inconvenience that Sam's unavailability poses for him: "I was going to ask him to drive me to London airport". Instead, he gets directions to the Underground, before saying goodbye to the others and leaving to return home to his three sons, alone. As he moves towards the front door, Ruth calls Teddy "Eddie"; after he turns around, she cryptically tells him, "Don't become a stranger". He goes out the front door, leaving his wife with the other four men in the house. The final tableau vivant depicts Ruth sitting, "relaxed in her chair", as if on a throne. Sam lies motionless on the floor; Joey, who has walked over to Ruth, places his head in her lap, which she gently caresses. Lenny stands looking on and observing. After repeatedly insisting he is not an old man, and getting no reply from Ruth, who remains, as usual, tactically silent, Max beseeches her, "Kiss me" – the final words of the play. Ruth sits and "continues to touch Joey's head, lightly", while Lenny "stands, watching". In this "resolution" of the play (its dénouement), what might happen later remains unresolved. Such lack of plot resolution and other ambiguities are features of most of Pinter's dramas.