Reviews: 4
EXTENDED BY POPULAR DEMAND! 10 PERFORMANCES ONLY!
Incest. Murder. Goldfish. Set in 1964 London, this madcap gem by legendary playwright Joe Orton makes for a dangerous evening of naughty hilarity. Under the direction of Mark Kemble, the cast features (in alphabetical order) Síle Bermingham, Reed Michael Campbell, and Brian Foyster. Running time is 60 minutes.
Having such a quintessential representation of the outrageous people and situations Joe Orton celebrated as he cleverly called out the societal and political corkscrewing we still endure a half-century later is indeed a treat, especially as brought to life by director Mark Kemble and a trio of slickly harmonious actors, any of whom I suspect Joe Orton would have been thrilled to encounter by chance in the loo at Islington Station.
Iffy dialects aside (they are distracting enough), two of the three actors — Foyster and Campbell — seem to be operating entirely without subtext.
Given it was a performance seen early in the run, things happen, but this production needs a viable edge. What one saw was not a bad, in fact is was even good, but, there's more life to be had here.
Don’t miss this chance to see a rarely produced gem by the master theatrical anarchist, Joe Orton. I sat next to two young men who had never experienced Orton before and were now intrigued and eager to see more.
Having such a quintessential representation of the outrageous people and situations Joe Orton celebrated as he cleverly called out the societal and political corkscrewing we still endure a half-century later is indeed a treat, especially as brought to life by director Mark Kemble and a trio of slickly harmonious actors, any of whom I suspect Joe Orton would have been thrilled to encounter by chance in the loo at Islington Station.
Iffy dialects aside (they are distracting enough), two of the three actors — Foyster and Campbell — seem to be operating entirely without subtext.
Given it was a performance seen early in the run, things happen, but this production needs a viable edge. What one saw was not a bad, in fact is was even good, but, there's more life to be had here.
Don’t miss this chance to see a rarely produced gem by the master theatrical anarchist, Joe Orton. I sat next to two young men who had never experienced Orton before and were now intrigued and eager to see more.
