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A Potent Recipe for Betrayal
By Veronica Dawn

In this twisted concoction of "he said, she said", mixed with poised bitterness, and a sprinkle of masked guilt, the outcome of the recipe is inevitably betrayal. With the betrayal of a wife, a husband, and a friend, you find yourself immersed in a realm where betrayal is so prevalent that it becomes comical, acceptable, and perhaps even normal.

Pinter notably begins this story of love and lust at its conclusion when two past lovers meet at a pub to reminisce about a past that quickly unfolds. Pinter innovatively tackles issues such as the instability of memory, the differences in gender and their attitudes toward love, the passing of time, consequences of infidelity, the anguish of burning guilt, and of course betrayal.

The claustrophobic intimacy of the New Place Studio Theatre is an ideal setting for the love triangle of Emma, Jerry, and Robert, as this closeness allows the audience to experience an intense feeling of voyeurism as they bear witness to the deterioration of marriage and love. As the story regresses, the years are counted down on a visible chalkboard upon which the characters write. You quickly realize not everyone is always honest, and anxiously spend the remainder of the hour questioning the legitimacy of each of their stories and emotions as you piece and patch together the facts.

Stuffed with suspenseful silence and packed with profound pauses, emotions are clearly visible even if not always spoken. "Betrayal" is driven by character, not by action; therefore each actor's individual approach to these complex human struggles is essential to the success of the performance. In an exceptionally challenging role, Emma must constantly modify and transform, making evident the struggle between her love for her husband, for her lover, and for herself. Nike Doukas does just this, from sexual awkwardness in the pub, to Venice when Robert (her husband) learns of the affair, and to the initial kiss with Jerry on New Years Eve as Robert stands unknowingly on the other side of the bedroom door. The chemistry between her and Jerry is undoubtedly genuine, so much that at times I found myself sympathetic that they are unable find happiness together.

Daniel Reichert is brilliant in his portrayal of a man eaten away by guilt and remorse, from the physical tension throughout his body at the final meet with Emma, to sexual flirtation at the flat, to sincere declarations of love. He is visibly vulnerable in his overwhelming quest to be with Emma, to the point where you often forget the pain he inflicts upon others as he ruins what is believed to be a true friendship with Robert, in addition to the possibility of shattering the heart of Judith, the unseen wife who adores her unfaithful husband in silence.

And what initially manifests as sarcasm and bitterness, Leo Marks proves to be successful in conveying the hidden wound of heartbreak beneath a cool and calm exterior as Robert. But what is unsaid is never unseen, and his pain becomes brutally evident as the play concludes when he thanks Jerry for being his best man and best friend.
This 30th anniversary production of "Betrayal" is produced by Dakin Matthews and Anne McNaughton, and is directed by John DeMita. Peter Strauss designed the naturalistic lighting while Dean Cameron constructed this set to be dark and minimal, but imaginatively framed with representational paintings from various eras and styles that are fitting as Emma works in an art gallery.

It is DeMita who makes the immense contribution to the overall effect of the performance with music that cleverly enhances the theme and mood of the piece. As the relationships are revealed in reverse chronological order, the music follows the chronology of a budding romance, as well as its demise. Beginning with the songs "Everybody Loves Somebody Sometimes" and "A Look of Love", shifting to "Dance with Me", and finally "I'll Never Fall in Love Again", the music not only provides audible accompaniment to scene changes, but also adds subtle irony for music approaches the issue of love in a lighthearted fashion, while the text itself tackles the bitterness and cynicism of love in a way that is harsh and real. It is as though the music openly and successfully states what the characters are incapable of articulating.

Is the relationship, the love, between Emma and Robert truly believable? Does Judith ever learn of the affair? What happened during the visit to Italy and on the island of Torcello? It doesn't really matter . . . the script says enough, even when it doesn't say anything at all.

"BETRAYAL" by Harold Pinter runs through Sunday, August 3. Performances are at the New Place Studio Theatre on 10950 Peach Grove Street in North Hollywood, CA 91601, Thursday through Saturdays at 8:00pm with matinees on Sundays at 2:30pm. Tickets are $25 and may be purchased by calling (866) 811-4111, or on-line through www.theatermania.com or a link on www.Andak.org.

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