Love, marriage, friendship & infidelity in the intensely intimate, brilliantly executed Betrayal

Virgilia Griffith & Ryan Hollyman. Set & costume design by Ken MacKenzie. Lighting design by Rebecca Picherack. Photo by Dahlia Katz.

 

Soulpepper rounds out its summer programming with its intensely intimate, brilliantly executed production of Harold Pinter’s Betrayal, directed by Andrea Donaldson and running at the Young Centre. A compelling look at intricate, overlapping webs of lies and deceit, it’s a fascinating look at the dynamics of love and infidelity between a husband and wife, and the husband’s best friend—and the subsequent impact on the marriage, the friendship and the affair itself. Told in reverse chronology, we start with a meeting two years after the affair has ended and go back in time to finish at the moment it was initiated.

When we first see Emma (Virgilia Griffith) and Robert (Ryan Hollyman), they’re meeting for a drink two years after the end of their affair. Robert, also married with children, is the best friend of Emma’s husband Robert (Jordan Pettle). What follows is a brief history of the relationship, shifting from this somewhat awkward meeting, to the break-up, to the revelation, and back through the pseudo-domestic bliss of afternoons spent at their furnished apartment oasis, to the moment the affair starts. We also see Robert and Jerry spending time together, including their favourite Italian restaurant, where they’re served by a waiter who clearly knows them as regulars (Paolo Santalucia, delightfully familiar with an edge of attitude). Questions of who knew what and when are revealed, concealed and lied about throughout, with selective candour emerging at pivotal moments—by chance or on purpose?

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Ryan Hollyman & Jordan Pettle. Set & costume design by Ken MacKenzie. Lighting design by Rebecca Picherack. Photo by Dahlia Katz.

Stunning performances all around in this tight, sharply drawn Pinter favourite. The three main characters are very smart—both culturally and intellectually—and, coupled with the fact that they’re all professionals in the British arts and culture scene, the cool, polite and cerebral nature of their banter-filled interactions belies the fiery, devil-may-care, primal passions within—and the accompanying loneliness and ennui that lead them astray. Griffith brings a self-possessed air of confidence to independent and enigmatic Emma; the most pragmatic and level-headed of the affair pairing, Emma’s participation seems to come more from a place of loneliness than passion. Hollyman’s Jerry is an affable combination of wit, enthusiasm and cluelessness; a man with a “talent for finding talent”, Jerry pursues Emma with the lyrical passion of a university freshman—then gets upset when he learns that his best friend knows he’s been having it off with his wife. This hypocrisy extends to Robert, played with cool, poker-faced detachment by Jordan Pettle; with razor-like precision, Robert reveals little and conceals much—and has been having affairs himself, possibly out of a sense of marital ennui.

Starting in 1977 and ending in 1968, the brilliant reverse chronological structure not only acts as a compelling rewind on the relationships, but serves as hindsight wisdom. The finely-tuned energy and pacing of the performances create the feeling of a fire gone out at the beginning, to a dying ember, to a spark at the beginning—a spark that, one imagines, has emerged from the dying embers of the two marriages. It is a thrilling, guilty pleasure to witness; and the up-close-and-personal intimacy of the piece makes the audience feel complicit in the cheating. And the outstanding efforts of the design team transport us to both time and place with impeccable attention to detail and flare: the teak furniture and print designs of Ken MacKenzie’s set and costumes; the enjoyable mix of late 60s and 70s music for the pre-show, and gripping original soundtrack from sound designer/composer Richard Feren; and Rebecca Picherack’s sharp, focused and atmospheric lighting design.

Betrayal continues at the Young Centre until September 25, the run was extended due to popular demand; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188. This is an extremely popular production, with a packed house on a Tuesday night, so advance booking is strongly recommended.

ICYMI: Jordy Kieto interviews director Andrea Donaldson about the production in Intermission Magazine.

Department of Corrections: In the original posting, I neglected to mention actor Paolo Santalucia’ performance as the Waiter; this has been corrected.

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Absurd, uncomfortable & ultimately human interactions in the darkly funny, unsettling Little Menace: Pinter Plays

Diego Matamoros, Alex McCooeye, Gregory Prest & Maev Beaty. Set & costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

 

Soulpepper opened its darkly funny, unsettling buffet of short Pinter plays at the Young Centre last night with Harold Pinter’s Little Menace: Pinter Plays, directed by Thomas Moschopoulos; and featuring 10 short pieces played out in 14 scenes over the course of 90 minutes. The short, pointed examinations of human interaction are at times absurd, uncomfortable and even surreal—and, in the end, ultimately human.

Little Menace: Pinter Plays features Trouble in the Works, Last to Go, Special Offer, That’s Your Trouble, New World Order, Victoria Station, Apart from That, The Press Conference, The Basement and Night; New World Order appears twice, switching up the actors and the scenario, and Apart from That is played out in four variations, aptly bookending the performance. The impressive four-member ensemble includes Maev Beaty, Diego Matamoros, Alex McCooeye and Gregory Prest.

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Alex McCooeye & Gregory Prest. Set & costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

Ranging from the bizarre in the hilarious mundanity of the workplace in Trouble in the Works (played with bang-on dead pan and impressive articulation by Matamoros and Prest) and the unlikely but tempting weirdness of Special Offer (a wry, incredulous Beaty, playing a high-level professional); to the sharply funny failures to communicate in Apart from That (all four actors, in four different pairings of beautifully awkward, polite exchanges where no one really says anything) and the ‘Who’s on First’ vibe between dispatcher and taxi driver in Victoria Station (Matamoros as the gruff dispatcher at his wit’s end and McCooeye as the child-like, simple driver), Little Menace highlights the awkwardness and missed connections in our day-to-day communication.

The discomfiting scenarios of personal and political dominance in The Basement (ensemble), the menace of terrible things to come in New World Order (McCooeye and Prest in a thuggish turn that goes from darkly funny to plain dark when they switch up roles and include Matamoros as a hostage in the second incarnation), and the sharply funny satire of a civil servant working in the culture sector in Press Conference (featuring a chilling matter-of-fact Matamoros as the civil servant) look at the darker sides of human connection. And the lovely nostalgia of Night highlights how even cherished reminiscences between a loving couple (Beaty and Matamoros, in a beautifully quiet, intimate performance) can be mixed up or forgotten altogether.

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Diego Matamoros & Maev Beaty. Set & costume design by Shannon Lea Doyle. Lighting design by Simon Rossiter. Photo by Dahlia Katz.

Stellar, compelling performances from the ensemble in this intimate, often raw series of short plays—showcasing the range of the talent on stage in performances of authentic nuance and intense rawness. Nicely supported by the sharply modern, sterile—open concept, yet claustrophobic—set and neutral grayscale of the costumes (both designed by Shannon Lea Doyle); and Simon Rossiter’s shadow-casting, modern aesthetic, sometimes intensely interrogative, lighting design.

What’s real? What’s true? What the hell is going on? Even in the most everyday, mundane situations, we’re a strange lot; and there’s a lot that goes on between the lines and in those awkward silences as we get caught up in our own fears and the various eccentricities of our inner worlds. And that’s a huge part of what makes us human.

Little Menace: Pinter Plays continues at the Young Centre until March 10; advance tickets available online, or by calling the box office at 416-866-8666 or 1-888-898-1188.