Tom Hiddleston on âBetrayalâ and the Art of Self-Protection
Tom Hiddleston was posing for a portrait, and the face he showed the camera wasnât entirely his own.
That had been his idea, to slip for a few moments into the character heâs playing on Broadway, in Harold Pinterâs âBetrayalâ: Robert, the cheated-on husband and backstabbed best friend whose coolly proper facade is the carapace containing a crumbling man. And when Mr. Hiddleston became him, the change was instantaneous: the guarded stillness of his body, the chill reserve in his gray-blue eyes.
âItâs interesting,â Mr. Hiddleston said after a while, analyzing Robertâs expression from the inside. âIt gives less away.â A pause, and then his own smile flickered back, its pleasure undisguised. âO.K.,â Mr. Hiddleston announced, himself again, âitâs not Robert anymore.â
It was late on a muggy August morning, one day before the showâs first preview at the Bernard B. Jacobs Theater, and Mr. Hiddleston â the classically trained British actor best known for playing the winsomely chaotic villain Loki, god of mischief and brother of Thor, in the Marvel film franchise â had been in New York for less than a week.
Heâll be here all autumn for the limited run of the production, a hit in London earlier this year, but he wasnât going to pretend that heâd settled in. âI literally have never sat in this room before,â heâd said at the top of the photo shoot, in his cramped auxiliary dressing room, next door to the similarly tiny one he had been occupying.