Harold Pinter's Betrayal: A Bittersweet Love Triangle
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The last date listed for Betrayal was Sunday July 27, 2008 / 6:00pm.
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Tarell Alvin McCraney's latest acclaimed play tracks the coming-of-age of a group of talented young African-American prep-school singers whose choral prowess is woven seamlessly into the story. Pharus, the undisputed superstar of the choir, is searching for the courage to let his true self shine through, in this work by MacArthur Fellowship-winner McCraney (The Brother/Sister Plays), who's been called "without question, the hottest young playwright in America" (Chicago Tribune). The West Coast premiere reunites director Trip Cullman, star Jeremy Pope and several other cast members from its 2013 New York run. Learn More
Reviews & Ratings
Featured review from Goldstar Member
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After a slow start (Pinter wrote it that way), in which we believe this is just another rehash of an ordinary, run-of-the-mill affair, in subsequent scenes we begin to understand the depth to which these characters have really f#^+ed over the people closest to them.
The character "Robert" gets all the good lines. The actor, who looks like my gym buddy... my distant gym buddy, as I, for one, am not having an affair, turns in a nuanced performance as a husband & best friend who's fully aware of the deception, yet says nothing, quietly using the information to further his own ends.
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An interesting play, well-acted. Complicated human relations sometimes start with a long-ago "moment of decision", and this play starts with a failed marriage in the present time (in England) and works backward in a series of scenes to the...continued
Quotes & Highlights
“an exquisite play, brilliantly simple and courageous.” —Newsweek
Betrayal play begins in the present, with the meeting of Emma and Jerry, whose adulterous affair of seven years ended two years earlier. Emma’s marriage to Robert, Jerry’s best friend, is now breaking up, and she needs someone to talk to. Their reminiscences reveal that Robert knew of their affair all along and, to Jerry’s dismay, regarded it with total nonchalance. Thereafter, in a series of contiguous scenes, the play moves backward in time, from the end of the Emma-Jerry affair to its beginning, throwing into relief the little lies and oblique remarks which, in this time reverse, reveal more than direct statements, or overt actions, ever could.
By Harold Pinter
Directed by Lee Eskey
Featuring Sophina Brown (“Shark,” Disney’s The Lion King, “Chappelle’s Show”), Henry Simmons (“NYPD Blue,” “Shark,” “Medea’s Family Reunion”), Rick D. Wasserman (“Swingtown,” Disney’s The Lion King, “24”) and Paul Haitkin (“House,” “Passions”)