Looking Back in Angst

Betrayal

What exactly is Betrayal? The dictionary defines it as violating the trust or confidence of someone. American psychologist John Gottman describes it as “a noxious invader” that undermines stable romances and lies at the heart of every failing relationship. As seen in Harold Pinter’s semi-autobiographical one-act, in which the Nobel Prize-winning playwright is looking back at his own life in angst, sees betrayal to include sexual infidelity, commitment, deception, lying, selfishness and breaking promises.     

One of the most important things that theatergoers should know going into this play is that it’s basically told in reverse chronological order, allowing the audience to begin at the conclusion and then go back in time to observe how the story began. Harold Pinter’s drama, liberally laced with unexpected humor, focuses on Robert and Emma’s marriage and Emma’s seven-year extramarital affair with Jerry, Robert’s best friend for many years. At the top of Pinter’s 75-minute drama, the year is 1977. The first two scenes of the play take place during that time, which happens to be the Present Day for the three characters. Then Pinter’s play moves steadily back in time, eventually landing in 1968, when the illicit affair first began. 

The locale also continually shifts. Through the simplicity of Neil Patel’s simple and elegant Set Design, we move between a London pub, Emma and Jerry’s rendezvous flat in London, Jerry’s house, Robert and Emma’s home, a hotel room in Venice and an Italian restaurant in London. The exact changes in time and place are made known to the audience through an artistic montage of vintage B&W Video clips and Projections, tastefully created by Rasean Davonte Johnson, and nicely enhanced through Xavier Pierce’s Lighting and by Rob Milburn & Michael Bodeen’s Sound Design and original musical Composition.

When the play opens, Jerry, a literary agent, and Emma, the wife of Robert, who is also Jerry’s publisher and best friend, are finally meeting two years after ending their affair. Emma confides to Jerry that she and Robert are separating when, after the night before, she confessed to her husband of their longtime liaison. Emma also admits that she was shocked to learn that Robert had also been cheating on her for years. So, it seems, that betrayal between these three characters has been an ongoing thing for a very long time.

This production is the second play that’s been Directed at the Goodman Theatre by new Artistic Director, Susan V. Booth (THE PENELOPIAD). She’s done another excellent job, this time guiding a smaller cast of three actors, coaxing the best performances from them and driving the story forward (backward?). When discussing Pinter’s play, she says that one thing she’s learned over the years is that “human beings are fundamentally flawed.” Her motivation in telling this story is that one “can never really know or trust someone—anyone—because everyone is deceptive, to some degree.” Certainly that’s what theatergoers will take away from Ms. Booth’s production of BETRAYAL. We discover the ramifications of the decisions and choices made by these characters as we peek into the lives of Emma, Robert and Jerry.

The cast is excellent. Pinter’s words and silences, for which the acclaimed British playwright was famous, are made even more profound than ever. Known for her many movie roles, including an Oscar Award-winning performance in the film, “As Good as It Gets,” as well as her multiple Emmy Awarded portrayal of Jamie Buchman in TV’s “Mad About You,” Helen Hunt also boasts a long resume of stellar theatrical performances. The lovely and talented actress does not disappoint as Emma. She sparkles as she plays a woman who’s smart, sometimes cynical and smug, but who also enjoys tasting the fruits of new romance, as each opportunity presents itself.

Ian Barford, a gifted Steppenwolf Ensemble Member, plays Robert. Often struggling to hold back his character’s anger, Barford’s strong portrayal of Robert often seethes beneath the surface with suspicion and rage at being betrayed by those he’s trusted. Never mind that Robert is doing the same thing to his wife and best friend. Mr. Barford may be remembered for originating the role of Little Charles in the Tony Award-winning AUGUST: OSAGE COUNTY, as well as appearing on Broadway in THE CURIOUS INCIDENT OF THE DOG IN THE NIGHTTIME.

But Robert Sean Leonard, known by many for his performance as a teenager in the film, “Dead Poet’s Society,” is probably best-known for his role in television’s “House.” This terrific and talented Broadway and regional theatrical actor, who has a Tony Award and several more nominations, is incredible in his portrayal of Jerry. In Susan V. Booth’s production, Mr. Leonard’s character is the main focus of this play. Although definitely not innocent, Jerry has been devoted to Emma, while deceiving Robert, his best friend. He’s also been cheating on Judith, his own wife, who may or may not know of her husband’s affair with Emma. As far as Jerry knows, she’s always remained faithful to him. Hardly ever offstage, Mr. Leonard’s anxiety and uneasiness continually drives him throughout this play. In my estimation, Robert Sean Leonard is simply magnificent in this role.

Artistic Director Susan V. Booth’s production of the Goodman’s much-anticipated production of Harold Pinter’s BETRAYAL does not disappoint. It’s a tart, often biting and bittersweet examination of three individuals who are, like all of us, fundamentally flawed. Enmeshed in a series of lies, deception and charades, this classic tale of deceit, during which the characters look back in angst, is played with precision, economy and a touch of class. 

Highly Recommended

Reviewed by Colin Douglas

Presented February 8-March 23 by the Goodman Theatre, 170 N. Dearborn, Chicago. 

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.