Photograph: Lace Market Theatre
Inspired by his own affair with BBC Presenter Joan Bakewell, Pinter’s Betrayal thrusts us into a tiptoed tournament of domestic games, lies, and deceit. Through an affair that spans years, we glimpse the lives of Emma (Jemma Froggitt), her husband Robert (Graeme Jennings), and her secret lover Jerry (Oliver Lovley) – who also happens to be Robert’s best friend and work partner – as they humourously struggle with dubious morals.
The most engaging aspect of this play is the reverse chronology. We begin with the aftermath of Emma and Jerry’s affair, a whole two years after its end, as the two reminisce over a desperate drink - Emma’s marriage now hanging by a thread due to the ironic discovery of her husband’s various infidelities over the years. A psychological confrontation then occurs between the men; a well-executed scene that fizzes with long-subdued emotions, pumped with snide references to events we are yet to witness. Then, over the course of the play, we slide back through a decade, visiting different stages of betrayal as each character’s outward motives and self-deceptions are unveiled. The great thing is, in Nottingham’s intimate Lace Market Theatre, there’s nowhere to hide from Pinter’s masterfully placed awkward silences and dramatic ironies that are abundantly thrown our way.
There’s much to be said for Emma Pegg’s set, which demonstrates a stylish versatility. In each not-so-dark blackout, it takes only a few moments for drawers to become beds, walls to become paintings, and chairs to stay as chairs. Grungy walls and peeling wallpaper serve as a constant reminder of the deteriorating state of all three relationships - the marriage, the affair, and the friendship between the men. We are even helped with the narrative by a somewhat Brechtian projection of scene numbers, locations and dates, which, whilst probably necessary, tugs at the naturalism of the piece a little too much. It reminds us that we are in fact only watching a portrayal of a betrayal, rather than witnessing real people in genuine situations - a goal which drove much of Pinter’s writing.
This a performance piece, narratively driven by Pinter’s shrewd dialogue (and often lack of it), yet Cynthia Marsh’s direction is always clear and focused. The performances themselves, whilst strong, differ in execution. Jemma Froggitt is subtle in her portrayal of Emma, as the adulterous wife appears riddled with doubts and insecurities. Emma’s ambiguous expressions and inability to hold eye-contact for long are intriguing, as I found myself eager to know what was going on inside her head – a credit to Froggitt’s performance.
The men are more demonstrative in style, as their thoughts are clearer and their emotions more blatant, yet their performances adjust effectively throughout the piece, according to the timeframe. In particular, Oliver Lovley poignantly demonstrates the effects of a long-term affair; in the later scenes, Jerry appears excited and thrilled by a clandestine relationship, as opposed to the earlier scenes in which he expresses a nervous vulnerability, seemingly worn down by its limitations. It’s impressive to see a character’s psychological arc still being obeyed, despite progressing in reverse.
Ultimately, individual performances weave together to capture the underlying paranoia that haunts forbidden relationships, and we are left to question adultery’s moral implications. The Lace Market Theatre does justice to a play that will probably give 1 in 3 married couples an awkward journey home.
Betrayal by Harold Pinter is at the Lace Market Theatre from Monday 20 June to Saturday 25 June 2016.
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