State Theatre Company. Dunstan Playhouse. 28 Jul 2015
Centred on three characters; Emma, a woman caught between a husband and a lover; Jerry, a successful writer’s agent, and Robert, Emma’s husband cuckolded by Jerry, Harold Pinter’s Betrayal is an enthralling piece of theatre which explores the emotional intricacies of three relatively mundane individuals.
Arguably one of Pinter’s most interesting plays, Betrayal employs reverse chronology as a fundamental device which puts the audience in the same ‘knowing’ position as the characters. With knowledge of what has come the audience can make estimations on what went before, making the trademark Pinter silences all the more powerful. The play is packed with layers of meaning and subtext that, as a result of this device, can be read by even the most unperceptive viewer.
Geoff Cobham (Design and Lighting) has set the production on a revolve which Geordie Brookman (Direction) uses to great effect. The circular stage is bounded by a rotating clothes rack which, on the surface, is used to facilitate lightening quick set and costume changes. However, as the play unfolds, the unconventional set represents so much more; like bare bones, the exposed wardrobe reflects what is unravelling on stage, a sequence of events normally closeted and hidden is played out in front of the audience. The dirty secrets of a long, incestuous love affair hang in the air like the clothes on their rack.
Jason Sweeney (Sound Design) subtly brings life to the otherwise bare settings with a cleverly employed soundscape that punctuates the silences. Startling scene changes have us jumping from our seats with their stark juxtaposition. Pinter’s play is not about locations, rather the interactions and emotions of his characters. The basic, yet visually appealing set and sound scape complement this.
It is the players that take this production to the next level, however. Pinter's characters are complex and flawed and Alison Bell, Nathan O’Keefe, Mark Saturno and John Maurice deliver considered and generous performances. The play’s limited dialogue is no foil for the actors who play the subtext brilliantly.
Saturno is the perfect sadist. Using his knowledge of Emma’s affair with Jerry (O’Keefe) he berates and belittles her with delicious scorn and absolute contempt. His vain attempt to console her after Jerry leaves on the promise of a squash game speaks volumes. Saturno wonderfully carries his character's repressed rage and viperous sarcasm, only very occasionally letting it get away from him. How they ever stayed together so long remains a mystery.
O’Keefe plays on Pinter’s menace whilst striking an interesting balance between salaciousness and insecurity. His Jerry is completely selfish, until he finally bares it all in a drunken expulsion of emotion and an outpouring of love.
Alison Bell is rarely given a chance to play Emma with any sense of joy. The joyous moments are just so and we relish in them, but hers is the performance that defines the title. Bell is the betrayed and the betrayer. Her Emma is heavy with guilt, manipulated by power and seeking love and affection.
Brookman’s Betrayal truly is ‘a ruthless exploration of the human heart’ and one that could cut close to the bone for some audience members. For fans of Pinter and newcomers alike this is a highly recommended production.
Paul Rodda
When: 24 Jul to 15 Aug
Where: Dunstan Playhouse
Bookings: bass.net.au
