NEW YORK — It’s only 3 p.m. but master director Mike Nichols warns that he’s been through a lot already.
“I’ll be a little slow,” he tells a visitor to his rehearsal room at Lincoln Center, where he is readying his next Broadway play. His assistants have been shooed away and he’s given the actors the afternoon off.
They’ve all been at it since 8 a.m. and it’s not always the easiest work. Nichols is getting his hands dirty in Harold Pinter’s “Betrayal,” a play about a love triangle and the pain of loss that stars real-life couple Rachel Weisz and Daniel Craig.
How does Nichols know when to take his foot off the throttle and let the actors enjoy the sunshine? “When amazing things have happened,” he replies. “Everybody’s a little worn out.”
Everyone, it seems, except Nichols himself, who is far from weary despite his assurances. The Tony, Emmy, Oscar and Grammy winner seems energized by being back on Broadway and exploring a familiar, naughty theme.
“I keep coming back to it, over and over — adultery and cheating,” he says. “It’s the most interesting problem in the theater. How else do you get Oedipus? That’s the first cheating in the theater.”
While known as a jack-of-all-trades who can embrace silliness — “Monty Python’s Spamalot,” ‘‘The Birdcage” — as easily as heart-wrenching drama — “Angels in America,” ‘‘Wit” — Nichols is indeed in his element with rocky relationships.
Many of his film and stage projects — “The Real Thing,” ‘‘Carnal Knowledge,” ‘‘Closer,” ‘‘Primary Colors,” ‘‘Heartburn” and “Who’s Afraid of Virginia Woolf?” — are littered with psychic aches and broken hearts.
“It was the first thing I knew. My first memory in the world is my gym teacher ripping my mother’s necklace off her neck and throwing it out the window and her running downstairs to go after it. I have no memory before that. I was 4,” he says. “My father had a lot of girlfriends and my mother had a lot of boyfriends.”