Betrayal is a tricky play to pin down. It is intense, compact, intelligent and, challenging. The three characters weave a complex series of relationships. Pinter employs the theatrical device of a reverse timeframe narrative to great effect - creating drama and humour. The audience are voyeurs who can see more than the characters. He uses this perspective to show the construction of layers of betrayal and the destruction of relationships that result from knowledge of those betrayals.

Pinter is frequently acclaimed for his use of language. He seems to be aiming at recreating 'real' language for the stage. It may just have been this production, but I felt that the language had become super-real - an exaggeration of actual conversations. At times, the dialogue slightly distanced the audience from the emotions of the participants.

The world has changed considerably since Betrayal was premiered in the winter of 1978. Since then, the way we relate to each other has changed, we communicate differently and our attitudes are very much altered. Peter Hall has clearly taken the decision to play the original text it as if it were happening today. This, I fear, was not wholly successful. My impression was that the characters were displaying behaviour patterns that may have been commonplace in the 1970s but which seem out of kilter with modern thinking.

The stage was used with simplicity and clarity. The rear of the stage was dominated by 2 picture frames and a precarious stack of chairs, decorated with the detritus of family life. There was very sparing use of colour throughout the presentation: most elements were shades of grey reflecting the ambiguous nature of the betrayal.

Aden Gillett (Jerry) and Janie Dee (Emma) seemed very much more at home on the stage than Hugo Speer (Robert). Their performances and on-stage relationship were always convincing and involving. Speer gave an intense portrayal but one that perhaps read better as a series of close-ups rather than from the back of the circle. It is probably Pinter who is to blame for my inability to believe in the relationship between Emma and Robert, however the direction did not seem able to give any reason for their marriage having survived thus far.

I was possibly alone in feeling a sense of unease at laughing at the pain that was clearly evident in the lives of these three characters. There are many genuinely humorous moments but Hall seemed content to allow us to laugh without always making us think as to the reality of the situation.

The Peter Hall Company have given a very polished and professional production of a stimulating piece of drama - one that has left me with plenty to think about, yet feeling emotionally unsatisfied.

Simon Tavener, 19.08.03