‘Betrayal’ — Written by Harold Pinter. Directed by Shana Gozansky. Scenic Design by Jeffrey Petersen; Costume Design by Nia Safarr Banks; Lighting Design by Amanda E. Fallon; Sound Design and Composition by Julian Crocamo. Presented by Gloucester Stage Company, 267 East Main Street, Gloucester through August 1

By Shelley A. Sackett

The “Droste effect” is a unique visual experience created by the seemingly infinite repetition of a picture within itself, creating a captivating, recursive image that draws the viewer in and leaves them pondering the limits of reality. Like a telescoped hall of mirrors, the effect is of a picture appearing within itself, in a place where a similar picture would realistically be expected to appear, creating a loop that could theoretically go on forever. Named after a Dutch cocoa company whose packaging featured the effect, the “Droste effect” has captured the imagination of artists, photographers, and design enthusiasts alike.

In 1978, it also captured the imagination of playwright Harold Pinter, whose drama, ‘Betrayal,’ is in production through August 1 at Gloucester Stage Company.

Presented in reverse chronological order, the play traces the nine-year cycle of birth, life and death of an affair between Emma (a glorious Liza Giangrande) and Jerry (Michael Underhill), Emma’s husband Robert’s (Tanner Efinger) best friend. We meet our former lovers as they face the fact that their fiery affair is, alas, smoke and ashes. They have not used the clandestine flat they rented in two years. It’s time to face the fact that their love nest is empty and to move on.

We learn that Emma is a gallerist and Jerry and Robert have a personal (going back to college days) and professional (Jerry is a literary agent, Robert a publisher) relationship. Interestingly, all three have one thing (other than Emma and Jerry’s affair) in common — they all make their living as middle (wo)men, peddling and profiting from the creativity of others.

Over 85 intermission-less minutes, these three will take a trip down a Droste tunnel where it becomes impossible to untangle the betrayed from the betrayer. Truth, lies and everything in between lurk more in the interstitial pauses than actual conversation, a signature talent of Pinter’s which he hones to a lethally sharp point in this sparse, nine-scene classic.

Because we know how, why and when the affair ends, our attention can focus on unraveling what makes the characters tick rather than figuring out the plot. Pinter dangles clues and then hides them behind a cloud of scant dialogue and nine-month pregnant pauses. More emotion is revealed by the stellar ensemble (especially Giangrande) and their silent but dramatic reactions than by the words they actually say aloud to each other. These are people who live in the shadows, whose dishonesty with each other is only surpassed by their disingenuousness with themselves.

About the only consistent link among them seems to be the belief that monogamy breeds monotony. That and a penchant for conversation that is cerebral, pithy and devoid of passion.

Yet, thanks to Shana Gozansky’s focused, expert direction (she hits that elusive dramatic sweet spot of milking each pause without ever overdoing it) and a top-notch production team and cast, the play rarely lags.

The “Memento” (Christopher Nolan’s cinematic masterpiece) experience begins subtly with a seductive jazz soundtrack (Sound and Composition design by Julian Crocamo) before the play starts, setting a relaxed but sexy tone. As the timeline runs in reverse from 1977 to 1968, so does the soundtrack, sounding more like the Beatles’ “Revolution No. 9” by the end. Jeffrey Petersen’s slick, impersonal set morphs easily from pub to house to apartment to hotel and restaurant. Back-lit walls that silhouette the characters as they change costumes (Lighting Design by Amanda E. Fallon, Costume Design by Nia Safarr Banks) bring reminders of the late 1960s-70s mod, go-go style that featured sharp tailoring, bold colors, and geometric shapes.

All four cast members are superb. Jeremy Beazlie is a tension-breaking relief and delight in his comic waiter cameos. As Jerry, Underhill embodies his narcissistic immaturity and boyish shallowness. Efinger brings an undertone of dissatisfaction and sadness to a character whose anhedonia knows no relief except when he is playing squash.

But it is Giangrande as Emma who anchors the production both plot-wise and by her nuanced portrayal of a complex, perplexed and enigmatic woman whose identity seems dependent on mistreatment by and of men. Beyond all the duplicity, deception, infidelity, competition and power tripping exhibited by our damaged trio, the most chilling moment is Robert’s confession that he hit Emma. “I wasn’t inspired to do it from any kind of moral standpoint. I just felt like giving her a good bashing. The old itch…you understand,” he confides to Jerry.

Like all satisfying theater, ‘Betrayal’ leaves us pondering big-ticket questions. What exactly constitutes “betrayal?” Is it an action? An omission? Is it knowing about the act and saying nothing? Does a betrayer owe loyalty to their co-conspirator or to their partner or to neither? Can only lovers suffer and commit betrayal, or does it extend to strangers?

But, most difficult to understand of all, is why our ill-fated lovebirds thought that renting a flat together would cure their malaise. A placeholder that is neither home not hotel, they set up house, replicating that which is obviously not working in their “real” lives. If it were, they wouldn’t be having an affair, or, now knowing these two as best as is possible, would they?

For more information, visit: https://gloucesterstage.com/