Betrayal - Tom Hiddleston - Harold Pinter Theatre

Plus they did the Intelligence Squared Dickens vs Tolstoy debate together. I had a sneaking suspicion there was something bigger brewing. They've definitely got chemistry.

Great news, I've just started watching Charlie Cox in Daredevil over the last couple of months and I've really been getting into it (shames its been cancelled, but heres hoping it gets another chance on the new Marvel TV channel we are supposedly getting), I also thought he was great in Boardwalk Empire.

Oh good. Kinda glad i didnt fork out after all. Very underwhelming co stars.

Cox cannot be a worse Jerry than Jeremy Irons.

Don't @ me.

Literally she was being asked?

I’m guessing this isn’t happening anymore

Zawe giving it her best Meghan Markdown there . . .

I went for standing ticket at the back of Royal Cirlce for £15 in the end.....as all other hideously expensive. Seemed to be on sale for next two weeks only so far
I loved those £5 pillar seats...

Will be interested to hear your thoughts!

Saw this tonight. The expressive minimalist staging is a thing of beauty, the star of this production.

Some spoilers follow. . .

Jamie Lloyd's staging sculpts out everything extraneous to the shifting relationships of the three characters (the set is rarely more than two chairs, with spare characters placed precisely into the mise en scene to express the power and nature of their influence over the characters in the scene), choreographing Pinter's choreographed play as a dance.

Unlike previous versions I have seen of this play, this one won't betray you if you lose concentration for a minute or two, as the visual staging speaks eloquently any words you miss: where people stand, whether they sit or stand, who is between who, who lurks behind, where they look, how fast they move, how far apart, whether they confrontationally face each other, sit aloof side to side, or touch each in intimate embrace; the blocking ever translates Pinter's fateful verbal power swings into movement, a dance.
(Do pay scrupulous attention to the first scenes though. Pinter's play moves through time backwards, and this first set of scenes sets up EVERYTHING that follows).
I'm loving minimalist sets and abstractly expressive staging at the minute: the Simon Stone "Medea," the Van Hove "View from the Bridge," and while this is more externally bloodless in it's meticulousness, and pared down acting style, less hysterical, more "Brief Encounter" in it's internalised anguish, than those more heightened affairs, this is nonetheless just as acutely poetically expressive.

Charlie Cox evinces all the innocence and lightness he displayed in the Donmar's "Prince of Homburg," while hinting at a conspiratorial mind behind the lightness in flashes of dark hesitation, Zawe Ashton is breezily whimsical and romantic on the surface, yet suggests a lostness and sadness beneath; and star turn Tom Hiddleston is simultaneously the most civilised, urbane and controlled he's been, while welling up with visible despair and rage in the (Pinter) pauses. All the performances enhance Lloyd's dance.

Tonight, betrayal spread from stage to audience, as huge swathes of the audience betrayed the actors by disappearing before the curtain call. One usher channeled Charlie Cox's innocent befuddlement, while a taller exasperated Hiddleston-like usher urbanely mused: "It's the rush for the stage door, darling."

The audience joined the fateful onstage dance, betraying their love objects, while purporting to honour them. Jamie Lloyd, you open my eyes.

4 and a half stars.

No dayseats but check out one page back has the details of the under 30/key workers rush.