Review: A Pinteresque Triumph: BETRAYAL’s Raw Passion Shines at Old Fitz

BETRAYAL by Harold Pinter is a work that explores a complex love triangle, moving backward in time from 1977 to 1968. It follows Emma, her husband Robert, and Robert’s Best Friend Jerry, who is Emma’s lover. The nonlinear structure reveals the affair’s unravelling, exposing layers of deception, guilt, and tumultuous emotional journeys. Through sparse dialogue and Pinter’s signature pauses, the play examines infidelity, memory, and the fragility of relationships, culminating in the affair’s origin.

Pinter’s insightful work is it’s a masterclass in how we betray everyone, from lovers to friends to ourselves. The punchy dialogue with its unique pauses portrays an engrossing perspective of the human condition when exploring adult relationships. The ingenious reverse timeline opens opportunity for further analysis of the dynamics of individual journeys, morality and one’s resourcefulness.

The highlights of the night is the Pinteresque text along with the fine performances of Ella Scott Lynch (Emma), Andrew Cutcliffe (Robert), Matt Hardie (Jerry), and Diego Retamales (Waiter).

The cast bring this piece to life with a fresh contemporary energy. Scott’s detailed nuances are a delight to experience, leading to a rich and commanding Emma. Cutcliffe has a totally engrossing presence. His fine-tuned performance brings stature and depth to the layers in Robert's character. Hardie embodies the tentative and cautious Jerry with aplomb. Retamales has a minor role, but you’re convinced he is from the restaurant upstairs with a genuine portrayal of his character.

Sved deft direction brings this superb ensemble together with eloquent and sophisticated staging.  The Old Fitz’s intimate space is a gift and a challenge—being so close to the actors amplifies every emotion, pulling you into their raw, confrontational world.

Melanie Liertz, Set and Costume Designer, has constructed an efficient, effective and eloquent stage. Her multi-use of a vertical venetian curtain is inspired, giving rise to fine work by Lighting Designers, Verity Hampson & Luna Ng.

Composer Steve Toulmin and Sound Designer Johnny Yang are another superb element of this Production Team. Their work enhances to reflective, melancholic, witty and retrained atmosphere helmed by Sved. The team uses these simplified yet impactful elements to enhance the austerity of the mis en scene of the work. It allows the cast and the text to be front and centre while giving strength to the emotional experience of the performance.

The intimacy scenes felt somewhat stilted and uneven, slightly out of step with the cast’s otherwise passionate performances. In a story centred on infidelity, the connection between lovers—whether seasoned or newly ignited—requires compelling chemistry. On this occasion, the actors appeared mildly uneasy, diminishing the scenes’ emotional impact.

Australia - Sydney Awards - Live Stats

Best Musical - Top 3

1. MJ THE MUSICAL (Sydney Lyric Theatre)

8.1% of votes

2. THE HUNCHBACK OF NOTRE DAME (Gosford Musical Society)

6.8% of votes

3. A CHORUS LINE (Curtain Bounce)

6.4% of votes

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