There are three principal characters, unfixed points in an adulterous romantic triangle, in Harold Pinter’s 1978 play “Betrayal,” now being revived to thrilling — and chilling — effect on Broadway. But there are just two chairs onstage for the duration of the show.
The choice is not incidental. The two men and one woman in the play are engaged in a long, painful game of musical chairs (or perhaps, less metaphorically, beds), during which one of them will always be on the outside looking in — the subject of the titular infidelity. But it’s never entirely clear at any point who is the odd man, or woman, out.