What The Butler Saw

2017 marks the 50th anniversary of Joe Orton’s death and this production of his final full-length play which he completed just one month before he died commemorates this.

As indicated on the website joeorton.org - “The title of the play implies voyeurism and is based on an Edwardian type of entertainment in which people viewed erotic pictures through a small lens.” In this case, the lens is expanded, and the audience is the collective voyeur.

The play takes place entirely in the white box of a psychiatrist’s clinic which is the perfect brief to work in the performance space at the Nomads Club House, being very obvious how the space will lend itself to the play and the presentation upon walking into the venue confirms as much. 

Should this subversive pre-Theatres Act 1968 farce have a best before date? Much has changed in the world since it was written, particularly society's attitudes to sexual politics, gender identity and mental health—all key themes of this play. “How does it ‘sit’ in 2017?” could be the reaction of many at the notion of staging the play today. Personally, I found that it could work if directed and designed to display an obvious illustration that it’s unquestionably set in the 60’s which itself would add a parody of the time as an extra layer to the presentation on top of everything else that’s intended.  

This cast don’t overdo the outlandish text and ensure it’s delivered with an air of self-awareness and a subtle glimpse of mischievousness. The Prentices’ lot is not a happy one, and Roberto Ravorini as Dr Prentice with Jenny Hollinshead as his nymphomaniac wife spar with venom. The two are well matched in both sexual predilection and quick delivery wholly understanding the piece and grasped how it needed to be played with excellent (and oh so subtle) aside glances, physical timing, prop juggling and exasperation.

Sandie Cowle and Sam Jones as Geraldine and Nicholas (and then as Nicholas and Geraldine) make the best of their predicament. It’s tricky to be convincing in these roles given that physical appearance is so vital when casting them if you’re to achieve the desired (visual) effect, requiring actors who can convincingly convey male and female characters to some degree.

Sam is evidently new to the am dram craft, and talk about throwing someone in at the deep end - if he’s survived this play he’ll survive anything! A more relaxed delivery and composure will naturally come with more experience but this was a worthy act from a newcomer. Sandie’s Geraldine was portrayed at a suitable tone exposing the ideal vulnerability with a subtle undertone of carnal mischief in the opening scene. 

“I am a scientist, I state facts” – it’s just a shame he struggles to learn them. Joe Cramsie was heading down the correct avenue with his interpretation of Dr Rance. Giving us some faith, he did a lot better remembering his lines for this production than previous ventures I’ve seen, however, I can’t really comment further as his performance wasn’t complete.    

Props and set dressings seemed authentic and accurate save the dress box prop with ‘the station hotel’ written on the side using a marker pen which screamed as being a bit of a poor effort against everything else. 

Directed by David Black who had a thorough knowledge of this play and how it needed to be delivered combining manic farce with non-stop social commentary, the timing is crucial and is generally immaculate but occasionally did lose its footing.  

The way the cast deliver the lines with an unashamed 1960s deliberateness that is bright and bold with a sense of satire makes it OK today, well, in my eyes it does anyway but it’ll no doubt offend somebody but this is comedy – show me a comedian these days who doesn’t use a figure of offense to some group of people somewhere in their repertoire.

The issues which the play uses as its foundation might no longer shock outright to the masses but this frees the play in a way and allows the audience to savour a text in which every line is deliciously funny and full of wit.

What The Butler Saw happens to be one of my favourite farces so it didn’t fail to have me giggling away.

It takes superb timing and a certain fearlessness to do this play, everyone is willing to let it all hang out — in more ways than one.

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