The very style of writing and performance, the visual and audio references while serving to emphasise the thematic points of the piece equally serve to isolate any emotional connection.
A mournful/despairing tune is playing in the auditorium, probably Radiohead or Thom York. The stage - an almost entirely sideless cube - slowly rotates and the seated Tamsin Greig glides around with it.
The audience carries on chatting or studying their phones as is the way - nothing to see here, it hasn't started so we won't pay attention.
It feels appropriate given the themes that are to come in this, the third collection of Pinter's short works in Jamie Lloyd's Pinter at the Pinter season.
When the lights dim and Greig does speak from her seated position it is with the aid of a microphone, her voice soft, Irish accent, her words lyrical.
It is a stark contrast to Keith Allen who sits next to her: loud, gruff and matter of fact. No microphone.
They talk but not with each other. There is a hint of past intimacy, a hint of pride, a confession and a sense of loneliness and unfulfillment.
Two people who live together but have lost a connection somewhere along the way.
Cover version conclusion
A slow cover version of Joy Division's Love Will Tear Us Apart concludes the piece which is titled 'Landscape'.
However, the very style of writing and performance, visual and audio references while serving to emphasise the thematic points of the piece equally serve to isolate any emotional connection.
It left me admiring the technicality of the performances and the skill of the writing but it didn't bring any twinges of empathy, in fact, it left me feeling as cold and unmoved as their relationship.