Who is the book aimed at?
A wide range of people. I think many people working in theatre – both amateur and professional – would find lots of interest, as would drama tutors and students. But I also think anyone interested in Pinter, Betrayal or the theatre in general would find plenty to read.
Why write a book about Betrayal?
It’s a question a number of people asked me, with some suggesting that other Pinter plays, like The Homecoming and The Caretaker, would be more fitting subjects. They are great plays too, but for me, Betrayal is Pinter’s greatest achievement. It’s a fascinating exploration of time, memory and betrayal. And while Pinter wasn’t the first playwright to write a play with scenes that go back in time, the impact of Betrayal on other writers and directors cannot be denied.
Betrayal also stands out in Pinter’s canon of work, because it emerged from both his personal experience and his imagination. Pinter said that his plays often started with an image. The Caretaker, for example, came out of Pinter seeing two men in a room when he was in lodgings. But Betrayal has its foundations in a seven-year affair Pinter had with Joan Bakewell. Many elements of that affair are in the play, but many others were created by him and never happened in real life.
Many books written about Pinter are by academics, and there have been many excellent ones too. But while my book contains chapters which explore Betrayal in detail, I wanted the main focus to be on the people involved in the productions – the actors, directors, designers, stage management and so on. I wanted their stories to be heard. I also wanted to give readers an idea of how a production is put together. When most of us go to see a play, we rightly focus on what’s happening on-stage, but I wanted to go beyond that – the planning and preparation that goes on behind the scenes; the rehearsals and how stage management keeps the show flowing seamlessly.
Betrayal is a play that is open to endless reinterpretation, which is why I document eight major UK stage productions, ranging from 1978 to 2012. I also wanted to show how the play was adapted for film and radio, and how a televised scene came about.
Did anything surprise you when writing the book?
Many things! For example, I hadn’t realised just how much pressure understudies endure. They have to be ready to go on at any time, and perform with actors they haven’t rehearsed with. It was fascinating to hear their stories. It was also interesting to see how actors and directors approach the Betrayal text. Some people like to spend a lot of time on research, while others prefer sticking to the script. I was also struck by how much work goes into designing the set, lighting and sound, and composing the music.
The story of the 1978 National Theatre production had more twists and turns than I could have imagined. The production occurred during a period of great industrial unrest in Britain, including the Winter of Discontent. It was interesting to hear how it affected many of those working in the National at the time. I was also fortunate to interview Peter Plouviez, who was then general secretary of the actors’ union Equity. Equity was caught in the middle of the dispute between NT management and the union NATTKE, and Plouviez was in regular contact with both parties. His descriptions of some of the union and management practices during the 1970s were eye-opening.
Another surprise about the 1978 production was the initial critical reaction to it. Folklore has it that almost every critic hated it – one newspaper went as far as to claim that it only received one rave review. But looking back through the reviews at the time, you find a fair number of positive ones, with several critics even describing it as a masterpiece – how right they were!
I also came across many characters including, Diana Boddington, the National Theatre’s legendary stage manager. Unfortunately, she had died long before I embarked on writing the book, but it was wonderful to hear the stories about her from the people who had worked with her. She deserves to be better known and would be a good candidate for a biography. I also learnt a lot about Harold Pinter, who was kinder and more sensitive than some portraits might suggest.
How long did it take you to write the book?
I started research and interviews in summer 2012 and conducted my last interview in January 2018. However, I was still writing and refining the text right up to the final proof stage in late 2018. Credit to Duncan Beale, director of York Publishing Services, and Clare Brayshaw, YPS design director, who were very patient and very accommodating about all the last-minute changes I made.
How did you conduct the interviews?
Sometimes, it would be face-to-face. I met some people in their homes; at theatres or sometimes in a club or restaurant. Other interviews were by phone, email or letter. People were incredibly kind and generous with their time and help. I think their willingness to help was largely motivated by their love and respect for Harold Pinter and this incredible play.
Why did you include so many photographs?
There are more than 90 photographs from a variety of sources. Many are from personal archives or collections and have never been published before. Others are from top photo agencies. The book covers various productions and I wanted readers to have some idea of what they all looked like. I also thought it was important that many creatives were also included.
Will you print more copies if the book sells out?
There will be no more copies of this edition.
Will there be a paperback version?
There are no plans for this. It might be that another publisher wishes to bring out a paperback version, but who knows?
What do you hope your book achieves?
I wanted to document what I think is one of the most important plays of the 20th Century. None of us will be around forever and a number of people I interviewed have sadly, since died, so I wanted to get on record as many people as I could. I hope my book gives people a greater understanding and appreciation of the play, and the people behind the various productions. I also hope that it encourages people to see and read Betrayal. It’s a truly wonderful play.