2 Since their partnership ended he has not written a good play, indeed no play of any length or substance: his great period extends from 1960, when The Caretaker was produced, to 1978, the year when Betrayal was put on. Betrayal, a play about marital infidelity, contained the first major female role not created for Vivien Merchant, and this happened to coincide with public knowledge that Pinter had left his wife for another person.
Future biographers will no doubt either confirm or invalidate the assumption made by audiences at the time that the two events were connected; my present purpose is not to speculate about this, but rather to note that Pinter’s greatness as a dramatist rests on the production of the last eighteen years or so he spent under the influence of the wife-muse Vivien Merchant.