Jamie Lloyd's version of Betrayal, which transferred to Broadway in fall 2019 after a rapturously reviewed London production, offers a minimalist but emotionally resonant version of the play that embodies themes beyond those indicated in the title of the play and suggests new directions for Pinter's work on Broadway. The antinaturalistic design and staging choices of Lloyd allow the play to breathe and expand while directing focus on to three unusually excellent actors. The only set pieces are two chairs and one table used variously in several scenes. The center of the acting space is a circular revolve, and around it another in the shape of a ring; these move in opposite directions. The most emotionally powerful use of these was in scene 8: while Jerry and Emma cavort happily in their flat, turning counterclockwise on the inner revolve, Robert sits in a chair on the outer ring moving...
Betrayal on Broadway
CHARLES GRIMES is the author of Harold Pinter's Politics: A Silence Beyond Echo published by Fairleigh Dickinson University Press in 2005. He has directed over forty plays including twenty by Pinter. Currently he is Lecturer in Theatre History in the Department of Theatre at the University of North Carolina Wilmington.
Charles Vincent Grimes; Betrayal on Broadway. The Harold Pinter Review 31 May 2020; 4 (1): 138–141. doi: https://doi.org/10.5325/haropintrevi.4.1.0138
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