On R4 this afternoon (Sat 14/6/12). I could kick myself that I didn't see this at The Crucible last month.
I wonder how well the "reverse action" of this play will work on the radio?
http://www.bbc.co.uk/programmes/b01kr71s
On R4 this afternoon (Sat 14/6/12). I could kick myself that I didn't see this at The Crucible last month.
I wonder how well the "reverse action" of this play will work on the radio?
http://www.bbc.co.uk/programmes/b01kr71s
Surely this is their second go at this? I seem to recall hearing a radio version of this in the mid 90s featuring Imogen Stubbs?!
No matter, it's one of my favorite plays... the effect is quite amazing.
As it's by Pinter, one would expect a long pause between productions, yes?
And repeated on Radio 3 in 2005. One of the few archive recordings to get a repeat on R3 - for Pinter's 75th.
I thought it worked pretty well. I'd heard the earlier version.
Can't say that I find it a settling play. It triggers the more conservative parts of me. I'm not always happy when there are phrases in my mind like "the seventies - they were the start of the slippery slope". It asks questions about trust in people way beyond personal relationships. If they are like that there, what are they like generally? etc. There is also that flesh crawling thing about Pinter writing it about a part of his own life, ie what was he also doing when clandestine with Bakewell? Taking copious notes?
Having said as much, it is entertaining. The dialogue is well-observed, some humour can be found it and the time travel back and forth is a fascinating device that works well with intrigue.
Last edited by Lateralthinking1; 14-07-12 at 17:42.
I wish the new production well, but if the Imogen Stubbs version still exists, then it is by definition the finest radio version of Betrayal in existence. My feeling about Ms Stubbs is somewhat akin to how Vyvyan on the Young Ones used to feel about Felicity Kendall.
Indeed, and it's a little known fact that "Nowhere Man" was written about her estranged husband, Trevor None.
I saw the Sheffield production and it was excellent: it managed to bely the fact that the venue is too big for such an intimate play.
Can't share Prokkyhosty's enthusiasm for Imogen Stubbs, though, who always comes across (in real life) as the bluestocking from central casting; and her acting (and that 'little girl's voice') always leaves me cold.
Will give this a listen: seeing it in the theatre was the first time it had really 'worked' for me - I've seen the film (somewhat handicapped by Jeremy Irons's unsympathetic performance) and heard the previous radio production and not been convinced. But the Crucible production DID make me believe that this is grade A Pinter.