Theatre review: Betrayal, Chapel off Chapel

Harold Pinter’s Betrayal was first performed in 1978 and is one of the British playwright’s most discussed and performed works. Thursday’s Child Theatre delivers a solid new production that reminds us why the play is so revered. Betrayal tells the story of an affair in reverse chronological order. The story of Emma (Michaela Bedel) and Jerry’s (Gabriel Partington) seven-year affair begins in 1977 and the play then gradually steps back through time to slowly reveal their shared history of lies and deception. 

Emma and Jerry’s affair is complicated by the presence of the third person in the love triangle, Robert (Heath Ivey-Law) who happens to be Emma’s husband and Jerry’s best friend. As the audience knows from the beginning about the affair, the intrigue involves peeling back the layers of relationships between the main characters. The cast do a good job of embodying their characters and the interactions between them are believable. However, it does feel like the depth of the characters’ emotions could have been brought out further, as at times it feels a bit too surface level. 

Pinter’s play is based on a real-life affair that he had and one of the strengths of Betrayal is its ability to dissect the affair from different angles. No one is truly innocent but each character is a victim in their own way. There is plenty of scope for individual interpretation as there are clear lies the audience is aware of, but also there is the possibility that we don’t know or see everything. The pauses for which Pinter is famous are present and feel natural. Though not a long play at around 70 minutes with no interval, Betrayal does linger in the mind for a long time afterwards. 

Rachel Baring’s direction creates a claustrophobic atmosphere with the characters in close proximity to each other and given little room to move. The simple stage design switches between a table for two characters to sit at and the living room of the flat in which Emma and Jerry meet for the affair. Curtains are used to close off parts of the set and this adds to the feeling of a tight, confined space. A calendar with the date visible upon it is a simple and clever way to keep the audience abreast of the time changes between the scenes and reduces the possibility for confusion. 

The actors often talk directly at the audience, which can convey avoidance of the person they are speaking to. However, it also reduces some of the tension that would naturally come from more direct engagement and eye contact. The humour in Pinter’s script is well delivered, but it also feels like there is too much lightness at times. Betrayal could do with a higher degree of dramatic tension. The hints of domestic violence are subtle and this is done well as it makes the audience fill in the gaps in their own mind. 

There is music and ambient noise playing in the background of most of the scenes. While this added atmosphere, it also becomes a bit obtrusive at times. It may have been better to only use such music for specific scenes as to avoid distraction. The cast drinks a lot over the course of the play, which is impressive in and of itself but also does convey their reliance on alcohol as they navigate awkward conversations. 

Read: Performance review: Humans 2.0, Playhouse, Arts Centre Melbourne

Betrayal is still a relevant and important play and Thursday’s Child have done a commendable job with this production. This is a good introduction to Pinter if you haven’t experienced his work before.

Betrayal by Harold Pinter 
Chapel off Chapel
Thursday’s Child Theatre
Director: Rachel Baring
Stage Management: Mikaela Innes and Lauren Kemp
Lighting: Kris Chainey
Set and Costume: Ella Firns
Producers: Michaela Bedel and Rachel Baring
Sound: Leahannah Ceff
Assistant Producer: Shay Bedel
Cast: Michaela Bedel, Heath Ivey-Law, Gabriel Partington

Tickets: $30 – $50

Betrayal will be performed until 25 May 2025.