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Betrayal
By Harold Pinter
Directed by Rick Snyder
At Steppenwolf’s Upstairs Theatre
1650 N. Halsted Street
Chicago, IL
Call 312-335-1650, tickets $20 - $65
Tuesdays through Sundays at 7:30 pm
Saturday & Sunday matinees at 3 pm
Wednesday matinees at 2 pm
Running time is 70 minutes
Through May 27, 2007
Dated Pinter play still resonates
Steppenwolf Theatre’s short 70 minute Pinter work features three top level actors, Ian Barford, Tracy Letts and Amy Morton, exhibiting smooth stagecraft in a subtly nuanced relationship piece. The chemistry among the three, especially between Letts and Morton, offers opportunities for deep seated connections. All three glibly render Pinter’s poetic and vague language marvelously. The indirectness of the words masks the pain, doubt and rage inherent in a story of marital betrayal.
The play takes place in reverse order, ending in 1978, sort of Pinter’s statement that the outcome of cheating is predestined to be known. We see three upper middle class arts intellectuals closely intertwined both in professional and personal relationships. Jerry (Ian Barford) is a literary agent, Robert (Tracy Letts) is a publisher—both are close friends and colleagues. Robert is married to Emma (Amy Morton) but Jerry has had an affair with her for years. Jerry is married also; both men have two children. 
The story is told in reverse order which doesn’t work for me since we know the outcome from the awkward opening scene. Better the back story be worth retelling but as it unfolds, it only plays out in a predictable way. The cheating relationship by Jerry and Emma grows just as sour as being wed to each other. The thrill of the extramarital sex wears thin over time. And the revelation that Robert actually knew about the affair yet did nothing for years demonstrates his character. It seems everyone fears of being caught and being betrayed and their lack of guilt speaks to their coldness and shallow ethics. Robert’s misogynistic speech about why men play squash reveals his attitudes. Filled with ascorbic humor and subtle indirect language, Pinter hints at the pain each experience through their betrayal. None seem to exhibit remorse.
I think the play is dated as betrayal has been the subject of many dramas, films and TV shows. The reenactments are a tad redundant. What saved this work are the deeply complex performances by the three players. This is a classic actor’s play that offers text book insights for young actors. It is nice to see experts at the top of their game.
Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: February 3, 2007
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