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Directing Resume

For a downloadable / printer-friendly version of Gregg W. Brevoort's Directing Resume:

Production Information

BETRAYAL

By Harold Pinter

Directed by Gregg W. Brevoort

Penobscot Theatre Company
Bangor, Maine

Design / Production Team

Set Design

Lighting Design

Costume Design

Stage Manager

Matthew Myhrum

Lynne Chase

Gabriella D’Italia

Amy Beth Friedenberg

CAST

Jerry

Emma

Robert

The Waiter

Patrick Dizney *

Rita Rehn *

David Sitler *

Putnam Smith

*  members of Actors Equity Association

Reviews

The Ellsworth American
Betrayed in Silence

PTC Offers Expert Rendition Of Harold Pinter’s “Betrayal”

– “A powerful experience, both funny and gut-wrenching – often simultaneously”

– “Under the direction of Gregg W. Brevoort, four talented performers and an excellent backstage crew succeed in making obvious why Pinter is one of the most important and influential playwrights of the 20th century”

– “An unforgettable piece of theatre”

– “The cast couldn't be better”

– “If there's any justice in the world, PTC will find itself with another success on its hands. You owe it to yourself to see this classic of modern English drama”

 

The Maine Campus
Truth, consequences and straight up lies

Penobscot Theatre carries 'Betrayal' with first class and a simple set

An altogether riveting performance that leaves the audience questioning love, life and the pursuit of happiness

Lies and their consequences have never been portrayed so well

Director Gregg W. Brevoort uses three accomplished actors to capture the emotions and feelings of the characters in the play

All three actors work with the confines of the clever script to create a powerful and ultimately eye-opening look at the inside of a modern-day love affair

The audience is … completely enthralled in the saga

 

the Bangor Daily News
Who’s Afraid Of ‘Betrayal’?

Harold Pinter drama exposes marital mazes

– “Gregg W. Brevoort ...crafts a production that does not back away from the questions the play raises and knows better than to answer them. Brevoort is interested primarily in the journeys of all three of the characters and never pushes the plot toward indicting any one or two players as the responsible party. They are all complicit ... more than that, however, they all love each other.”

“It’s a stunning and de-centering conclusion”

– “Brevoort’s production captures much of the elegant convolution and confusion of this play [and is] provocative on a number of levels”

– “So while the plot is sparse, the internal life of this play is anything but”

– “Penobscot Theatre’s Betrayal takes us back to where it all started, puts us on the journey of hindsight, and let’s us peer into that unexpected and shattering first time”

 

Mark Torres
Penobscot Theatre Company Artistic Director

“Word on the street here is that Betrayal is one of the best productions in the theatre’s history”

Director's Notes

With Harold Pinter’s Betrayal, the title begs the obvious question, “Who betrays whom?”

In rehearsal, we’ve discovered that the play deals with much more than the lies and deceits of an adulterous triangle.  Betrayal is about the search for meaning in one’s life.  Perhaps, ultimately, it is self-betrayal that each character and each spectator is forced to examine.

Surprisingly, when Betrayal premiered back in 1978, it was not universally well received in the critical press.  Coming from a playwright who had taken on human isolation, loss and suffering in such plays as The Homecoming, The Caretaker and No Man’s Land – work that had been compared to that of Samuel Beckett – Betrayal was dismissed as trite and indulgent ... a tabloid story ripped from the playwright’s own headlines.

As biographer Michael Billington explains in his definitive The Life and Work of Harold Pinter – the playwright himself had carried on an extra-marital affair that shared many of the details immortalized in Betrayal: the seven year duration, the flat in Kilburn, the husband having known all along, the revealing letter at the American Express office in Venice.

Some critics cried that Pinter had served up a “high-class soap opera” about “smart-set adultery.”

But autobiographical gossip is not the point – nor was Betrayal written to serve as a cautionary tale on the dangers of adultery and marital infidelity.  Pinter succeeds in transcending the sordid details of his own infidelities and has written a universal play that examines the hopes and dreams which lie beneath the best (or worst) of our intrigues and disguises.  In Pinter’s world, Man betrays himself.

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