‘Betrayal,’ theater review

Beautiful people doing ugly things always attracts attention.

Since one of the world’s most beautiful couples — Daniel Craig and Rachel Weisz — signed on as cheating spouses in “Betrayal,” Harold Pinter’s 1978 drama has been the hottest ticket in town. There’s clamoring at the stage door and scalping on the sidewalks.

But is it worth the hubbub and the hype? Actually, yes.

The big-screen James Bond and “The Constant Gardener” Oscar winner are smashing and sexy in Mike Nichols’ graceful and stealthily devastating production of Pinter’s autobiographical play.

Craig is Robert, a publisher. Weisz is his wife, Emma, a gallery owner. Joining them as Jerry is a new face, Rafe Spall, playing Robert’s best friend and the ultimate backstabber.

Jerry poaches Emma and carries on a seven-year affair with her — love nest included.

That’s not a spoiler — Pinter essentially reveals the entire plot in the first scene of this streamlined drama, which moves in reverse from the late ’70s to the late ’60s.

Over that period, Emma and Jerry betray Robert. Then Emma betrays Jerry by telling her husband all about the affair. And Robert gets in on it too, betraying Jerry by not telling him he’s onto the cheating. Oh, and he’s also cheating on Emma.

It’s a story about who knew what, and when.

Treacherous stuff, marriage — and friendship.

“Betrayal” is provocative and nasty, but being English, it’s all very civilized. In an American version, there’d be screaming and F-bombs all night long. Not here. It’s cerebral, subtle and surprisingly polite.

So it takes the right cast to bring it to life. This cast does.

As the Judas with a jones for his best bud’s wife, London-born Spall stuns in making Jerry an Everyguy — funny, easy to like and unimposing. Only late do we see his mercenary side.

Weisz, a London stage veteran making her Broadway debut, is fetching as Emma. She plays her with heart-on-sleeve girlishness. Smart move. Too implacable, Emma would just be ruthless.

Craig proved his stage chops in the 2009 cop drama “A Steady Rain.” Here, with Kirk Douglas-style ’70s hair, Craig brings a virility and vibrant expressiveness to Robert. His character changes the most in terms of temperament, and he never misses a beat as he transitions from who cares to profound hurt.

Like cheaters slinking around in the night, Nichols’ production moves quietly and purposefully. During his long career, Nichols has proven himself a master of intricate intimacy. He knows how to zero in on humor and pain and make it all burrow deep into your skin. And into your brain.

It’s a play in which everyone loses — except the audience.

jdziemianowicz@nydailynews.com