Betrayal - Harold Pinter

Last night I went with Him Outdoors and my parents to Circa Theatre to see Betrayal. It was fabulous – all four of us thought so, which is a pretty good strike rate from a fairly diverse audience. My parents first saw this play about 30 years ago and were keen to see it again. Him Outdoors has never seen a play by Pinter and wondered what I meant when I said a play was ‘Pinteresque’. I think he has a pretty good idea now.

Betrayal is the story of an affair between Emma (Danielle Mason) and Jerry (Toby Leach). Emma is married to Robert (Jason Whyte), and Robert and Jerry are best friends. Yes, it’s an old story and the love triangle has been played out on stage in so many ways, but this feels fresh and memorable. The split level divided set works well and the sound and lighting add to the ambience without intruding, allowing the audience to concentrate purely on the three people in the ring.

It is a play about power and the distortion of assumptions, which is told in reverse. The effect is like finishing a book and going back immediately to re-read it to wonder, ‘would I have seen that coming?’ Founded on dramatic irony, there are times when we know that she knows that he knows, but he doesn’t know. If this sounds like it’s confusing, it could be. It pays to pay attention; to keep the upper hand.

Toby Leach is on crutches due to a pre-play incident which must have altered the staging of some scenes. It is tricky to indicate power when you are sitting on a sofa with your leg in plaster, but the play is one of verbal sparring rather than anything physical and many of the scenes are critical in their repressed motion – an arm flung across a sofa; a tightly belted coat; a briskly-snapped-shut book all speak volumes.

The revealing moments thick and fast, and the sympathy switches from wronged husband to aggrieved couple to man/woman desperately trapped in a loveless marriage and back again. This play was written in 1978, and there is a tendency of critics to ask, ‘Is Pinter still relevant?’ Hell, yes. Love; jealousy; repression; competition; excitement; self-affirmation; and, indeed, betrayal – aren’t these universal themes? Or are we all perfect now?

Jason Whyte is excellent as Robert; his fast-paced delivery with crystal clear enunciation is the perfect counterpoint to Leach’s more languorous posturing. Whyte plays his part with controlled menace and a smile that could give you nightmares. Danielle Mason could concentrate less on the accent and more on the assent. Her Emma is beautiful in a willowy way, but she radiates more constipated sterility than consummate sensuality.

The dialogue is almost frustratingly natural, giving the play its moments of humour. The circuitous communication conceived here gave birth to the conversations beloved of modern comedy (think Teachers; Green Wing; The Office; Alan Partridge). Apparently Harold Pinter hated actors (or other directors) messing with his script. Why would you when one of the definitive playwrights of modern theatre has laid it all out for you?

Unless they have been seduced by American popular psychology talk shows, real people don’t analyse their feelings in excruciating detail. You have to surmise what they mean from what they say and how they act, and that is exactly what we are given in Betrayal.

Is there an underlying current? Under close questioning from Emma, Jerry barks back, ‘I said exactly what I meant’. There is a lot of movement beneath these still waters, and, as a popular contemporary advert would have it, ‘If you’ve never learned to swim, you’re like a baby in the water.’ Will these characters drown or stay afloat? It all depends how well they have learned to negotiate the hidden rapids.

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