Following a successful run in London, Jamie Lloyd’s production of Harold Pinter’s play has officially opened on Broadway. Love London Love Culture rounds up the reviews.
Variety: “Thanks to the precision of Lloyd’s direction, our eyes are always focused on the proper bit of minimalist action – a quick sideways glance, a casual crossing of the legs – while our heads are occupied with Pinter’s layered thoughts. Of all Pinter’s often-puzzling work, this play is the one that clearly speaks to you, thinks for you, and may even feel for you.”
Entertainment Weekly: “A production this minimalist depends on its performances. Hiddleston’s turn has the restraint and winning edge of a poker sharp. Robert often knows more than either his friend or wife suspects, giving him a power and calm unusual in a cuckolded husband; Hiddleston wields that advantage with a chilling smile. However, in the moment when his suspicions about his wife are confirmed, there is real emotion, teary eyes and all.”
Deadline: “Aching, wistful and wounding, the director’s staging of Betrayal presents three friends and lovers trapped in an undoing of their own making, their inevitable self-destruction no less powerful for showing itself before the happier days.”
Vogue.com: “With Hiddleston, the production also arrives with considerable star power behind it, but the tone of the Broadway Betrayal is anything but glitzy. This is pure Pinter.”
The Wrap: “Never do these design elements or Lloyd’s direction give any of these characters the chance to escape from each other. It’s the problem with being in an extramarital relationship: There’s never only two people in bed at the same time. Those other not-present partners have a way of hovering over the bed sheets. Lloyd’s direction puts that crowded predicament in boldface.”
The New York Times: “Mr. Lloyd’s interpretation balances surface elegance with an aching profundity, so that “Betrayal” becomes less about the anguish of love than of life itself.”
Hollywood Reporter: “Lloyd and his actors illuminate a glimmering darkness in the drama, a deeper well of sorrows that linger in the air even after the cast take their bows.”