The young cast excels in the revival of Harold Pinter's bittersweet "Betrayal"

Jamie Lloyd's revival of Pinter's "Betrayal" is profound and refreshing, a reflection of the fact that it draws on the talents of the youngest cast of Pinter's Betrayal since it was premiered in 1978. This time, the big draw in Jamie Lloyd's revival is Tom Hiddleston's Robert, a book publisher who is married to Zawe Ashton's Emma, and is the best friend of Charlie Cox's Jerry. He appears a little bored and brusque, but with the progressively reversed chronology, Hiddleston reveals Robert's unhealed emotional wounds behind his mask of cool self-assurance. 

Lloyd's production feels brand new, compared to previous productions. In 2003, when Janie Dee played Emma and Hugo Speer's Robert first discovered his wife has been having an affair with his best friend Jerry for years, Emma was lying on the bed and reading a book about Spinks. Jamie Lloyd's production, however, has changed Pinter's text of "Emma on bed reading. Robert at window looking out" as Robert and Emma sitting on chairs and talking, while Jerry is listening on the other side of the stage. Hugo Speer's Robert is more aggressive when he has confirmed the unbelievable fact, whereas Tom Hiddleston's Robert has heartbreaking tears in his eyes: he is angry, but his bitterness and vulnerability are foregrounded more than his anger. 
When performing Pinter's pauses, this younger cast seems to make greater use of body language to lighten the awkwardness. For instance, Zawe Ashton's Emma employs actions like shrugging her shoulders and jogging her legs in the first scene drinking with Charlie; and she uses a lot of casual flirtatious touches when she's talking to Jerry or kissing him. Sometimes however, the well-known Pinter's pauses are just there, giving the audience some naturalistic and believable seconds of silence.

 

 

 

 

 

 

 

 

 

 

 

 

In an echo of Pinter's setting in reversed chronology, the revolving stage rotates counterclockwise when the scenes are turning to several years ago. The only two times when the toroidal stage turns clockwise are the two scenes when the plot moves forward: the first one is when Robert identifies the letter from Jerry, and the second is when Jerry and Emma are kissing in their flat. The particular design of the stage not only shows the dreamy fluidity of time but also a touch of domestic realism. It also reminds me of Sondheim's Follies, which likewise employs a revolving stage. 

Stage designer Soutra Gilmour smartly exploits a backdrop which subtly evokes the feel of an art gallery to imply the protagonists' careers in the art world, and a ring-shaped stage to present to the audience a simple, shadowy and dynamic drama. In this 90-minute play, the three protagonists remain on stage almost all the time, even though the dialogue often takes place between two of them, symbolizing the complex relationship and identities: husband and wife, best friends, two families; and the fact that the secret has been revealed at the start of the play. Betrayal is not a big enough word for the sophisticated engagement of 3 individuals who often look independent: they're not only linked to each other but also forged together.

Another highlight of this thoughtful play is the clever use of music. Depeche Mode's "Enjoy the Silence," helps to set the mood during the play. And PJ Harvey's White Chalk," which appears in interludes when the stage is rotating, is genius with a dark heart, which coordinates the milieu of the complicated relationship between Robert, Emma, and Jerry. Just like the lyric suggests, "white chalk sat against time, white chalk sticking to my shoes." The young cast in this naturalistic production of Pinter's "Betrayal" manages to take the audience members back to the old days while time simultaneously moves on.