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Harold Pinter's Betrayal
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Harold Pinter’s Betrayal begins at the end when three literary intellectuals uncover their erotic secret, leading the audience to enquire how they got in the situation in the first place, and the play runs backwards in time toward its origins.
Propriety forms the surface of the drama. From a distance, the triangle of characters appears proper and poised. They are kind and considerate, never interrupt, ask innocent questions and do not, generally, inspect over much the answers. They help each other over the occasional awkward moment.
But they are intellectuals and knowledge is most delicious when you know something that someone else doesn’t. There are things to be taught and people must be prepared to receive the truth. There are students and there are teachers. It takes time. Years, sometimes. There are things beneath the surface, things that must not be said, at least not right away.
But intellectuals are smart and have been to school and think about what they see and hear and claim to know these things and so the game becomes not What but When: How long was I ignorant? Who new what when?
And finally, when everyone knows everything, the game is up and life becomes a bore again. What was tasty is now dull. When something becomes generally known, the knowledge is banal and can be dismissed with a yawn as old news.
Is there no substance? Is art just a carefully hidden secret, exposed only in a teasing moment to excite curiosity and then we get to romp through time and space, chasing the white rabbit, only to find nothing at all? Exercise is thought to be good for the heart.
The Actors Theatre produced a fine adaptation of Pinter’s play. The performance is intriguing, enticing, and alluring without being lurid or vulgar.
Aaron Murphy, Christian Phillips, and Linden Young play their parts with poise and tenderness, allowing only occasional clues and brief moments of excitement to keep the audience on track.
Linden Young’s character is cool and controlling as she plays her game of secrets. She gently and coyly dominates the men she owns.
Christian Phillips plays her stoic husband with strength, calmness and attention to detail required of their social circle. He reveals his destructive power only once ot twice, just to let us know he has it.
Aaron Murphy plays the outsider working his way inside, mercuric, persuasive, ingratiating, and successful.
The artful set changes and minimalist set provide entertaining interludes between the scenes.
The Actors Theatre under the direction of Keith Phillips has earned its reputation for performing excellent drama. I’ve seen their Cat on a Hot Tin Roof, Buried Child, and After the Fall. All have been fine, solid tragedies and I will be back for more.
Betrayal plays until August 1st, 2009 in San Francisco.
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