Entertaining Mr Sloane at Young Vic Review
Written by Sarah for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Director Nadia Fall asks, “Have you ever had the urge to scream in a library or laugh at a funeral?” This question perfectly captures author Joe Orton’s provocative and mischievous nature. The Young Vic’s production honours Orton’s spirit by embracing both the "blackness" and the "comedy."
Mr. Sloane (played by Jordan Stephens) is a charming young man who goes to lodge with Kath (played by Tamsin Outhwait) and her elderly, ailing father (Christopher Fairbank). Soon, the social veneer of respectability disintegrates, and the darker nature of the characters is gradually revealed. The play deals with the primal themes of sex and death by subverting the traditional family norms, in characteristic “Ortonesque” style; irreverent and laced with macabre discomfort. Written in 1963, it also features homosexuality as a theme, at a time when it was illegal and for which Orton served a 6 months in prison. The enforced repression makes for a rich subtext, which is even more delightful and dangerous when played out.
Murder, blackmail, sex, family, and boiled ham; the play is full of unexpected twists and turns, and is encased in increasingly dark deviance and humour, which Nadia Hall rides with ease. With moments of shocking violence that have the audience gasping and guffawing within the same breath. Whilst the tone of the scenes is that of a twisted Carry On film, Hall uses lighting and stylized movement to bring out his murky, malevolent characteristics of Sloane. Is he a misguided youth or a master manipulator? How complicit are the other characters in the a-morality and deception in pursuit of their own baser desires?
Outhwait sets the tone from the off as the motherly sex-starved landlady. With her 60s blond bouffant and high-pitched East End patter, she is instantly reminiscent of the iconic Barbara Windsor as the archetypal ditsy blonde. The character, of course, is much more 3-dimensional, and Outhwait proves herself a skillful craftswoman in handling the complexities of the role and the text. Her timing, slapstick, and deadpan double-entendres are a delight.
Jordan Stephens (of Hip Hop artists Rizzlekicks fame) makes his stage debut as the seductive Mr Sloane. Stephens leads with his sexuality and plays the ambiguity with a permanent twinkle in his eye. Is he really interested in the landlady or her brother? Or just out for what he can get? Stephens misses opportunities to lean into the contrast, the depths of Sloan’s menacing side as his behaviour becomes increasingly depraved. Unfortunately, those moments don’t ring true or hold the power that they should.
Christopher Fairbank, as the father, begins as an Uncle Albert figure from Only Fools and Horses but quickly disintegrates into a blind, feeble figure whose vulnerability offers some of the most affecting moments of the play. Fairbank plays comedy like a fiddle and turns the tragedy into a symphony. Daniel Cerqueiras, as Kath's closeted older brother, is stately and the image of the respectable and responsible head of the family. Cerqueiras pitches the repressed undertones and lusts after Sloane perfectly and never quite drops his guard.
The production is set in the round, and the design by Peter McKintosh contains the action in a context of place and time by evoking the feeling of sitting inside the walls of the 1960s living room. The air is ripe with nostalgia, with the busy baroque carpets, and sparingly placed chintzy lamps and furniture. Above and around the stage are everyday domestic objects coloured in a charcoal grey, conjuring images of charred remains. The lighting and sound (Richard Howell and Tingying Dong) are laser sharp in their intention and alert the audience to poignant subtext, particularly punctuating the journey of Mr. Sloane.
The direction and performances infuse the text with life and laughs, and propagate dark undertones like rumbling thunder. The rich themes, constant flips in alliances, and layers of dialogue, so deftly played, make for an utterly enthralling experience.
Entertaining Mr Sloane at The Young Vic runs until the 8th November.
★★★★
