Reviewed by Barry Lenny, Tuesday 28th July 2015
The State Theatre Company of South Australia are presenting
Harold Pinter's
Betrayal, which starts some time after the end of an extramarital affair, when the lovers meet again over a drink, and travels backwards in time to see how it all began. Emma has had an affair for seven years with Jerry, her husband Robert's best friend, but it has been over for some time. Suddenly, everything must be revisited and confessions made. The semi-autobiographical play was inspired by his own affairs during his unsuccessful marriage.
It is the sound of silence. Silence is golden. For once, a play by Pinter is directed by somebody who understands the playwright, is thoroughly conversant with his work, and recognises the importance of the pauses. That, though, is meaningless without a cast that accepts and embraces the director's vision. A great director realises the importance of casting and the play's director, and Artistic Director of the company, Geordie Brookman, could not have found a better cast.
Then there is Pinter's language, where seemingly unimportant statements such as a comment by Robert to Jerry that they had not played squash for a long time, takes on a greater significance than the words suggest, even to the point of containing a feeling of menace. Brookman and his cast are adept at capturing Pinter's meanings and moods and translating them from words on the page to a thoroughly powerful and convincing performance.
Nathan O'Keefe is renowned for his work in comedies and children's productions and, sadly, is not asked often enough to show his abilities in dramatic works. This production redresses that, as he takes on the role of Jerry, the married man having an affair with his best friend's wife. He is paired with Alison Bell as Emma, the wife of Robert, at whose marriage he was the best man. Robert is played by
Mark Saturno, giving Brookman a trio of actors who combine talent with intellectual understanding and insight. Even the minor role of the waiter is filled by a fine actor, in John Maurice. Brookman has ensured that there is not a single weak link.
Saturno has a wonderful way of presenting Robert ostensibly in one mood, yet conveys a totally different mood at the same time, and O'Keefe makes his Jerry respond appropriately, sometimes seeming wary and unsure, at other times even confused. They are like a couple of boxers dancing around the rings, measuring up one another. The air is often electric during their encounters.
His interactions with his wife Emma are equally complex, and Bell responds with a well balanced interplay of her own. far more is implied than spoken, and we are privy to that as we go back in steps through time, cognisant of the future of all three.
Then there is the relationship between Jerry and Emma, and another marvellous series of encounters between O'Keefe and Bell, from the awkwardness of their meeting at the start of the play, to the wedding between Emma and Robert at which a passionate Jerry expresses his love for her.
The whole thing is a superb piece of theatre, as well as a master class in great acting, all three totally absorbed into their characters, expressing valid emotions, and moving the audience through the verisimilitude of their characters and interactions.
The lighting and set design is by Geoff Cobham, who won the prestigious Helpmann Award for Best Set Design only yesterday for his work on State Theatre's production, Little Bird. The advantages of designing both set and lights should need no explanation, and the integration of the two in this production results in a very inventive way of representing the passing of time and establishing the numerous locations. You must see this for yourself. Ailsa Paterson was the associate designer and costume designer for the production and her costuming fitted the period from 1977 back to 1968 extremely well. Jason Sweeney added an edgy electronic soundscape to represent the chaos within the relationships of Emma, Jerry, and Robert.
Since Brookman took over the reins of this company the standards have been high, but this production certainly tops anything to date and sets a precedent that other major companies in Australia will envy and, hopefully, try to emulate. See this remarkable work while you can. It doesn't get much better than this.
Photography: Shane Reid
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