네히비지만 새 옷 맞습니다 ㅠㅠㅠ
패턴이 심지어 수트에도 타이에도 있습니다 ㅠㅠㅠㅠ

리뷰는 당연히 좋음 ㅋㅋㅋㅋ
스무 개 정도가 나와서 슬쩍슬쩍 봤는데 세 개 정도는 음 보통 ... 잘 만들긴 했지만 내 취향 아님, 이 희곡도 싫고 그러고
나머진 모두 오 좋다에서 쩐다 ㄷㄷㄷ

그리고 중요한 매체에서 평이 좋음 ㅇㅇ

잉국 쌀국 취향이 그렇게 갈릴 내용, 연출이 아니라 좋을 것 같긴 했는데 역시나 좋네
히들이 흐뭇하겠다, 브로드웨이에 처음 올린 연극 평이 이렇게 좋아서

맛 보기로 뉴우욕 타임즈 평에서 일부분 긁어옴


How can a naked space seem so full? Feelings furnish the stage in the resplendently spare new production of Harold Pinter’s “Betrayal,” which opened on Thursday night at the Bernard Jacobs Theater, and they shimmer, bend and change color like light streaming through a prism.

Directed by Jamie Lloyd — and acted with surgical precision by Tom Hiddleston, Zawe Ashton and Charlie Cox — this stripped-down revival of Pinter’s 1978 tale of a sexual triangle places its central characters under microscopic scrutiny, with no place to hide. Especially not from one another, as everybody is on everybody else’s mind, all the time. They are also all almost always fully visible to the audience.

This British version is the most merciless and empathic interpretation of this much performed work I’ve seen, and it keeps returning to my thoughts in piercing shards, like the remnants of a too-revealing dream. I had heard good things about this “Betrayal” when it debuted in London earlier this year, but I didn’t expect it to be one of those rare shows I seem destined to think about forever.

“Betrayal” was dismissed as lightweight by Pinter standards when it opened at the National Theater in London four decades ago, and hearing it described baldly, you can sort of understand why. The high concept pitch could be: “Love among the literati in London leads to disaster, when a publisher discovers his wife is having an affair with his best friend!”

True, the play had an unusual structure, with its reverse chronology. (It begins in 1977 and ends in 1968.) Early critics regarded this as an unnecessary and confusing gimmick. As for all that brittle, passion-concealing wit and straight-faced deception, wasn’t that the stuff of old-guard West End masters like Coward and Rattigan?

With subsequent productions and a first-rate film in 1983 — featuring Jeremy Irons, Ben Kingsley and Patricia Hodge — earlier naysayers began to perceive a creeping depth and delicacy in the work, which for me now ranks among Pinter’s finest. Curiously, despite three starry productions (the most recent led by Daniel Craig and Rachel Weisz), “Betrayal” has never been done full justice on Broadway.

Until now.

Mr. Lloyd’s interpretation balances surface elegance with an aching profundity, so that “Betrayal” becomes less about the anguish of love than of life itself. Specifically, I mean life as lived among people whom we can never truly know. That includes those closest to us; it also includes our own, elusive selves.


...

As slender and sharp as a paring knife in his dark navy clothing, Mr. Hiddleston’s lacerating Robert seems to live in a state of existential mourning. He can be wittily combative, most memorably in a brilliantly staged restaurant scene with Jerry.

But you’re always aware of the regrets, the uneasiness, the sorrow behind the unbending facade. The scene in a Venice hotel room when he ever so gently, confronts Emma with evidence of her infidelity is almost too painful to watch. What you are witnessing is the conclusive collapse of a marriage’s fragile and necessary structure of illusions.