Interesting, from a reader:

As a professional playwright, director and dramaturg, I can speak with a fair amount of knowledge about Harold Pinter. His politics are actually symptomatic of a sad story.
Pinter’s early work – plays like THE CARETAKER, THE HOMECOMING and THE BIRTHDAY PARTY – was brilliant and innovative, influencing modern playwrights for years to come. (For example, the work of David Mamet is virtually unimaginable without Pinter). In those days, Pinter was apolitical. There were even signs of conservatism; along with his principal director, Peter Hall, he voted for Margaret Thatcher, influenced by the union labor troubles that virtually shut down the National Theatre, where Hall and Pinter both worked. Pinter was then married to Vivien Merchant, an actress who helped make THE HOMECOMING an international success.
In true showbiz fashion, Pinter traded in his first wife for Lady Antonia Fraser – beautiful, very rich and very leftist. (Merchant proceeded to drink herself to death.) The new Pinter, now part of London’s glamoursphere, became increasingly political, and increasingly nasty about the United States and his own government. He also became less productive. His plays slowed to a trickle of shorter and shorter one-acts, as his political presence became stronger, beginning to resemble a loud and obnoxious drunk who has to be yanked off the stage.
In the end, Pinter has become like one of the aggressive low-class louts from his early “comedies of menace,” mouthing off because he’s rich and famous and he can. Only he can know whether his shrill denunciations of American “atrocities” conceal a greater guilt of his own.
To a conservative like me, it is the left that killed off Pinter’s art, more successfully than any censor could have. Doubtless, it is the later, bloviating Pinter who the Nobel committee is rewarding, not the true artist.
ML