Joe Orton, a renowned playwright whose works are celebrated for their wit and subversion, burst onto the scene with the British Broadcasting Corporation's acceptance of his first play, The Ruffian on the Stair. However, it was the success of the West End production of Entertaining Mr. Sloane that truly cemented his place in theatrical history. Orton’s distinctive style, characterized by its use of media-influenced language and exploration of authority and convention, is evident across his body of work, from his early plays to his later, more farcical pieces.

The Ruffian on the Stair

Joe Orton's career began with The Ruffian on the Stair, a play that, while influenced by Harold Pinter, demonstrated Orton's flair for dialogue and tension. The one-act drama involves Joyce, a former prostitute, Mike, a thief, and Wilson, an intruding character who disrupts their lives. As the plot unfolds, Wilson reveals a connection to Mike's past crime, instigating a sequence that ends with his own death and leaving the audience with the perplexing emotional detachment of the characters. The way they communicate, mostly through clichéd and media-driven language, reflects their emotional sterility and is a signature of Orton's emerging style.

Entertaining Mr. Sloane

Orton's first full-length drama, Entertaining Mr. Sloane, showcases a more refined control of his craft. The play follows the manipulative dynamics between Kath, Ed, and the young lodger Sloane, as they vie for his affections, revealing the dual meanings of the title as both entertain and "be entertained by" Sloane. The narrative explores themes of power, sexual politics, and societal standards, with characters using language as a tool to obscure true intentions. Orton's adept use of media language and dialogue creates a comical yet critical commentary on human interactions, securing his reputation as a dramatist with a unique voice.

The Good and Faithful Servant

In The Good and Faithful Servant, Orton turns his satirical eye towards authority and convention, using the character Buchanan's retirement as a lens for critique. Through Buchanan’s disillusionment and encounter with past relationships, the play highlights the futility of lifelong service to an indifferent corporation. Mrs. Vealfoy, representing corporate and social conformity, organizes a bleakly comedic retirement party, underscoring the theme of ironic despair beneath the guise of societal norms. This play marks Orton's growing confidence in addressing themes of authority in a more overt and naturalistic manner.

Loot

With Loot, Orton embraces farce to challenge societal norms head-on, using humor to expose hypocrisy and corruption. This play, a parody of detective stories, showcases the absurdity of authority through the character of Detective Truscott. The narrative twists and turns as characters manipulate and are manipulated, leading to a critique of justice and authority that is both biting and comedic. Orton’s mastery of farce is evident in Loot as he uses the form to deliver a scathing social commentary, illustrating the chaotic and often illogical nature of the world.

The Erpingham Camp

In The Erpingham Camp, Orton continues to explore themes of authority and anarchy in a setting ripe for chaos—a holiday camp. The play's structure, composed of eleven short scenes, reflects its rapid descent into disorder. Authority figure Erpingham's attempts to control the situation highlight Orton's ongoing critique of conventional power structures. The play's culmination in absurdity and rebellion underscores the fragility of societal order and the unpredictable nature of human behavior, showing Orton’s skill in crafting farcical and epigrammatic drama.

What the Butler Saw

Orton’s final completed work, What the Butler Saw , represents his most accomplished exploration of irrationality and farce. This play, set in a mental clinic, blurs the lines between...