Abstract
The numerous interior locales of Harold Pinter's Betrayal present special challenges for a designer. The play's concise scenes and brief running time add to the complexity designers face in grounding a narrative that strategically hopscotches though time and place. This article contrasts the designs, production support, and casting of two productions directed by the author decades apart: one on the proscenium stage of Northlight, a professional theater in Chicago, the other in a thrust theatre in Louisville with students. Finally, the article contrasts the complexity of Betrayal's design challenges with its accessibility for audiences.
Copyright © 2017 by The Pennsylvania State University. All rights reserved.
2017
The Pennsylvania State University
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