One of the biggest tests of a playwright’s durability – whether interest in their work survives posthumously – and a significant measure of an individual play’s status – its fiftieth anniversary staging – come together in a new production of Harold Pinter’s The Homecoming, his 1965 hit about a toxic family reunion.Pinter was cautious about autobiographical interpretation of his work, and there is no suggestion that he was dramatising his own relatives, but The Homecoming seems fairly clearly to arise from a tension between the working-class London world from which the playwright came and the more glamorous settings opened up to him by the global success of The Caretaker in the early 1960s. By the time he copyrighted The Homecoming, the 34-year-old