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Comedy, Donmar Warehouse Theatre Royal Drury Lane, London, all

closed, but the transmission, composite, but trembling, Kristin Scott Thomas is a great actress Pinter. It operates in the way some actresses mysteriously do, to get people's attention towards your face (no, after all, a very big thing on stage), where the action of the play is reflected in small and stiffening relaxation and a wave of inflections. It is often kept for her, wrapping his arms around her body, so that when it comes to his arm towards her future lover, it seems an extraordinary act of abandonment. It is an object of desire, but also a strength. She sees the active response.

Betrayal

, released in 1978, is renowned for its structure - its way back through the seven years of clandestine love affair, the lovers meeting after your link has been completed, and ending with his first touch: it moves from the experience of innocence. It is also famous for its allocation of part of his life to Pinter.

four years ago, in the intimate space of the Donmar, directed by Roger Michell, of Betrayal was closed and loaded. Stages of production by Ian Rickson Grande has no such power: the pace is sometimes too deliberate, as the lover of literature-agent, Douglas Henshall, so wonderfully easy in a convincing drunk scene, foams too much to be convincing As a novelist magnetic. However, filigree Rickson clarifies the complicated folds and creases of a drama that is constantly on the idea of ??treason without collecting: it is no coincidence that the characters are reading Ford Madox Ford, very subtle in love and deception. And there is a remarkable performance by Ben Miles. As the cuckolded husband, much is not based on the playwright, who has a lot to a public version of Pinter: intelligent, observant, ironic, dark shirt, bad mood, not an imitation, but an echo. Among the scenes, the screens of gauze down, erasing a while what you see - such as lack of clarity of the faulty memory Michael Grandage , now in his final season as artistic director of the Donmar, successfully fulfilled the promise he had made nine years ago: put a directory rarely seen on the European stage. Sealed with a dynamic production

Luise Miller , which impresses with its romance, political intrigue bites and moves at the pace of a thriller. Play Schiller, the most popular in Germany in recent years, returns to Shakespeare in his way, but also looks forward to a new German drama, and the French Revolution was first staged in 1784. Although production is small and intimate Grandage, has a long reach. The daughter of a musician at the court and the son of a high position, the Chancellor vicious fall in love: the frustration of their romance in the interest of political and personal tragedy brings on the way to the exposure of corruption and despotism. Dark wood design creates a small space McKintosh Peter, dusk, a black domestic servants, but at the end of a corridor to show the rhythm, drawing courtiers: David Dawson with exquisite poison flutters, John Light rages, as Iago. Each movement reflects a larger camera, every moment of bitter sweetness has a counterpart is a nest of snakes, as the new Mike Poulton spicy version clearly shows: the speech is riddled with pox and worms, bubbles beneath all the corruption. Special lighting Paule Constable, with the presence of a ghost player, the band twists, fast action. Lines of a lot of light pierce the darkness - the heroine seems heavenly - and capture the character: Juan de la Luz - Peter Mandelson, whose machinations look like Paddington Bear - hangs behind the heroin with intent to injure . Alex Kingston, bosoming impressive as far as handling a real lover, the lights suddenly and is considered vulnerable, caught in a spotlight that the decline in production would not have.

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