Harold Pinter’s Betrayal was premiered way back in 1978 at the Lyttleton and the play is just as strong today as it was back then and will not lose any of its punch if it is played out for audiences in 30 years’ time. This is because the central theme of infidelity is something that will always be a pertinent subject and it is becoming all the more ubiquitous in our highly sexualised age.
Harold Pinter understands this very well because this play was inspired by an affair he had during the 60’s with BBC Television presenter Joan Bakewell
Ian Rickson’s production at the Comedy theatre centres around a love affair between Jerry (Douglas Henshall) and his best friend’s wife, Emma (Kristen Scott-Thomas). It opens on a meeting between the two philandering characters in a pub. You learn that their affair has since come to its climax and we are witnessing something of a reunion. The play then gradually moves back in time, allowing for insight into the secrets, deceptions and exertions of passionate love that ultimately lead to the events of the first scene.
Through Pinter’s ingenious reverse chronology of the narrative, dramatic irony is used to powerful effect which, coupled with Pinter’s economical use of dialogue and the subtleties that resonate through each multi-layered interaction, makes for a beautifully pitched piece of theatre, although this production is certainly not perfect.
The cast play the disingenuous and reticent characters very well, convincing in their utter disregard for one another’s feelings. I felt tenderness between Jerry and Emma, the breaks in the dialogue communicating a much greater and purer intent, contradicted of course by their rather insensitive behaviour towards their respective friend and partner. These were two characters that had lives to lose, bound into a commitment through what they believed to be love, forced into secret meetings because their everyday lives were not satisfying enough; their love though not strong enough to break the confines of their prospective marriages.
The mise- en scene was also nicely communicated with a bed being present almost throughout the entire production- a constant reminder of the scene of the betrayal.
I did however struggle with Douglas Henshall’s arrogant and at times dis likeable Jerry. This is clearly a man in the throes of love and passion but that was not truly communicated. I felt there could have been an incandescence to his character that was sadly lacking. Both Scott-Thomas and Ben Miles were strong as the couple emotionally wrenched apart by their selfish actions.
Ultimately this robust production left me satisfied although I feel with a text so rich, so nuanced and so beautifully complex, I wanted more from the performances that felt, at times, a little sterile.