Joe Orton’s Entertaining Mr Sloane returns to the London stage in a bold and unsettling revival at the Young Vic, directed by Artistic Director Nadia Fall. First staged in 1963, Orton’s darkly comic tale of seduction and manipulation remains as provocative today as it was over six decades ago.
Set in the round, Peter McKintosh’s design places the audience amid the detritus of a neighbouring rubbish tip, with junk strewn across the stage and suspended from the ceiling. It’s a fitting metaphor for the moral squalor that unfolds within the family home of Kath, Ed and their elderly father, Dada.
Tamzin Outhwaite is excellent as Kath, a lonely woman desperate for affection, whose maternal instincts blur into something far more disturbing. Her performance is layered and compelling, capturing both the vulnerability and the manipulative edge of the character. Daniel Cerqueira and Christopher Fairbank are equally strong as Ed and Dada, bringing a sharp sense of timing and tension to Orton’s biting dialogue.
Making his stage debut, Jordan Stephens (of Rizzle Kicks fame) plays the enigmatic Mr Sloane with moments of brilliance, particularly when the character’s more disturbed tendencies come to the fore. Stephens captures the charm and menace of Sloane, making him a magnetic centrepiece to the twisted triangle of desire that drives the play.
A standout moment in the second act sees the stage bathed in pink and blue strobe lighting, visually representing the psychological tug-of-war between Kath and Ed for Sloane’s affections. Richard Howell’s lighting design here is particularly effective, heightening the surreal and sinister atmosphere.
Orton’s writing is exceptional, blending dry wit with psychological drama to create a gripping and often shocking piece of theatre. The play’s themes of power, sexuality and manipulation are handled with a deft touch, and Fall’s direction ensures the tension never wanes.
This revival proves that Entertaining Mr Sloane still has the power to disturb and delight. A gripping, provocative revival that crackles with dark humour and unsettling charm, Nadia Fall presents us with a reminder of Orton’s genius and the enduring relevance of his work.
