(Michael Billington’s article appeared in the Guardian 6/17.)
Having rubbished Harold Pinter's Betrayal on its appearance in 1978, I seem to have spent much of my life discovering its complexities. Each production yields fresh insights. And, watching Ian Rickson's beautifully lucid and perceptive revival, I became aware how much the play deals with the shifting balance of power in triangular relationships, and with the pain of loss.