Press night of was on 13th March 2019 and the reviews are in. Here is a collection of them + links in case you’re interested in reading them in full.

All in all the reviews are very good and I wouldn’t expect any less. The Jamie Lloyd’s project has been highly praised and Betrayal seems to be a proper ending to it.

Some spoilers included in the reviews, read at your own risk.

The Guardian: Betrayal – a haunting reminder of deception’s impact ★★★★

Hiddleston, especially, is superb in conveying Robert’s unhealed emotional wounds. His initial mocking superiority to Jerry is explained by the fact he has long been aware of his best friend’s covert betrayal. In the Venetian scene, when he learns that Emma’s affair has been going on for five years, he has the poleaxed stare of a man whose world has fallen apart. But there is a savage humour to the restaurant scene where Hiddleston stabs at a melon as if displacing his anger with Jerry.

The Telegraph: ★★★★

But in common with all his (Hiddleston’s) best work – including, yes, that glinting study in volatile vengefulness, the maverick Marvel baddie Loki – he displays a hypnotic sensitivity. Such is his physical and vocal control, that no matter how light the look or line, or indeed how loaded, everything registers. I had worried that the actor, 38, might come across as too well-spoken, too restrained but he doesn’t merely suggest the noxious, torturing impact of that title word, Betrayal, he seems to carry it in his blood-stream.

Funny, sharp, oddly nasty, and memorably anguished, Lloyd’s Betrayal is fully faithful to a theatrical landmark.

The Times: ★★★★

This play, which premiered in November 1978 at the National, was first treated by critics as a rather inconsequential tale of infidelity. But it has aged well and this production is particularly good at exposing the millefeuille of secrets and lies, set in a cloying London publishing world of lunches and squash, Venice and wine.

Broadway world: ★★★★★

The actors – quite literally – cast shadows, installing relationships structured in strategic parallelisms on the back wall. The nudity of the stage is dressed with their internal turmoil and ultimate betrayal as the director employs a subtle dark and sexy attitude that comes straight out of Pinter’s homoerotic subtext – mainly conveyed through Hiddleston’s delivery. He plays with space and distance to compress and decompress the energy through staging, which results in a sometime airy, sometime asphyxiating breath of emotion.

Hiddleston is imperious in his sharp suit, towering over his co-stars with his piercing bitterness and stoicism. Cox stands at the other end of the spectrum with an ironic stride that he doesn’t abandon as he goes through levels of dismay and interest while Ashton owns, in turn, an agency that becomes objectification and then power once again.

The Arts Desk: ★★★★

Yet just when the scene teeters close to farce, Hiddleston snaps it back with a heart-rending delivery of Robert’s recollection of his solitary time on Torcello, during what we now know was a turbulent trip to Venice with Emma. It was, he admits, a moment of happiness – “Such a rare thing”. Hiddleston has the great actor’s gift of stillness; when Robert learns of the affair, he doesn’t rage, but tears glitter in his eyes and gradually spill down his cheeks, unchecked vulnerability springing forth from this coolly controlled man. It’s extraordinary to witness.

The Stage: ‘stylish, intimate and superbly performed’

Hiddleston is disconcertingly convincing as the kind of man who casually talks about giving his wife a bashing and who is a total bastard to waiters yet is also capable of being charming and perceptive. He’s a very responsive performer, at his best when interacting with others, and he’s pretty remarkable here; the moment when he stares silently at Emma, sadly, desperately, is wrenching.

In another moving moment, Lloyd’s production also introduces one of Robert and Emma’s children on stage, a reminder that there are four kids caught up in all this, that it’s not just their hearts on the line.

It all plays out against Soutra Gilmour’s achingly tasteful, minimalist set, an ecru canvas, beautifully lit by Jon Clark, that slowly moves forward, intensifying the claustrophobia. The coolness of it all means that some of the play’s emotional potency is diluted, but it’s always gripping – and superbly performed, particularly by Hiddleston.

METRO: ★★★★

But it is Hiddleston’s transformation that defines the evening as the hollowed-out Robert we first encounter progressively — or should that be regressively — reveals the emotional stages that came before; the suppressed anger, the poleaxing moment when he discovered the affair, right back to the guileless husband he was when it all started.

It is a superbly judged performance and if Hiddleston isn’t considered for an award, he’ll have the right to feel slightly betrayed.

Evening Standard: ★★★★

But it’s Hiddleston’s poise and sensitivity that impress the most. There’s a brilliant scene that demonstrates his usually under-exploited flair for comedy: toying with Jerry over lunch in an Italian restaurant, he humiliates the feckless waiter, attacks his prosciutto as though fighting a duel, and gulps white wine like a bandit. Yet he’s also genuinely moving, and when he weeps his eyes and cheeks glisten with tears.

The Independent: ★★★★★

Tom Hiddleston excels in a brilliant performance

In a modern classic, the actor (Hiddleston) shows off, to my mind, his classical chops too. His range is beginning to look pretty limitless; Hiddleston excels in a brilliant performance as Robert.

TimeOut: ★★★★★

There is a scene in Jamie Lloyd’s production of ’s reverse chronology adultery drama ‘Betrayal’ in which his character, Robert, is told by ’s character Emma – his wife – that she has been having an affair with his best friend Jerry (Charlie Cox) for years. Posh, self-assured Robert’s language would suggest he is savagely sanguine about this: but Hiddleston’s eyes are heartbreakingly wet. Maybe he’s got some sort of clever trick or whatnot, but it’s a genuinely remarkable piece of acting, in a genuinely remarkable performance.

WhatsOnStage:  ★★★★

The long central section where Robert discovers Emma’s betrayal through the arrival of a letter acquires astonishing weight and Hiddleston charts each moment of discovery. In the early part of the play, he has been all clipped control, delivering even the shocking line about hitting Emma – “the old itch”- with cold contempt.

But here we see the moment of his disillusion, and his pain, hardening to anger, to a fake casualness that is astonishing to watch. His eyes fill with tears and the emotion is almost overwhelming.

Variety:  Both quietly radical and faithful to Pinter’s play, Lloyd has revealed “Betrayal” anew.

Lloyd taps into a central tenet of infidelity: the third party is always present. By trapping the trio on an empty stage, stripping away any sense of place, Lloyd makes them become the background to each other’s affairs. Every encounter — between lovers or rivals, between husband and wife — exists in relation to the person it leaves out. As Emma and Jerry idle away their afternoons in their shabby shag-pad, Hiddleston’s Robert cuts a stern, solitary figure upstage or spins around them, cradling Emma’s daughter in his arms. Cox sits, staring into space, while the married couple bickers on holiday in Venice and, when the two men meet for a boozy lunch, Emma’s visible elsewhere, lost in thought. There’s no losing sight of the situation. The betrayal is always plain to see.