Abstract
Betrayal marked a radical shift in style, form, and plot device, with Pinter abandoning a single set structure for multiple sets. This article aims to explore how directors and designers have approached the challenges and opportunities offered by the play's structure. The article will examine eight major UK productions—from the original 1978 National Theatre production to the 2019 Harold Pinter Theatre production—which demonstrate a multitude of approaches and interpretations when it comes to set design, from naturalistic to multimedia to minimalism. The article will include accounts from designers and directors, and also critical reaction to the set designs. It will be argued that the creative flexibility offered by Betrayal's dramatic structure means that the play will continue to be staged in new, fresh and innovative ways.
