What the Butler Saw

by Joe Orton

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The Play

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In a private clinic, Dr. Prentice interviews Geraldine for the position of his secretary. His questions focus on her parents, of whom she knows little except that her mother was a chambermaid at the Station Hotel and that her stepmother recently died as a result of a gas-main explosion which also destroyed a statue of Sir Winston Churchill. Soon, as a part of the interview, he asks her to begin undressing, and she gradually complies behind the curtains of a consulting couch. Mrs. Prentice arrives in a fur coat unexpectedly early from her meeting of the night before, in company with Nick, a page boy from the Station Hotel, where she spent the night. Nick has sold her dress and wig and now threatens her with photographs taken of their intimacy together in the hotel. He wants a hundred pounds and also the position as her husband’s secretary. Dr. and Mrs. Prentice exchange taunts on sexual performance while both drink whiskey copiously. Dr. Prentice is trying to hide Geraldine’s underclothes. Mrs. Prentice demands Geraldine’s dress, as she is in her slip beneath her fur coat. She tries to convince her husband to hire Nick.

Dr. Rance enters, apparently to investigate the clinic. He questions both Prentice and, when he sees her naked behind the curtain, Geraldine, whom he certifies as insane. Prentice says his secretary is missing and is not this woman. Rance develops a theory that Geraldine was molested by her father. Rance cuts her hair, while Prentice tries to hide her underclothes and shoes in a flower vase. Nick delivers a box containing Mrs. Prentice’s dress and wig; Prentice seizes them. Rance is looking for “Miss Barclay” and cannot find her. Prentice asks Nick to undress and put on Mrs. Prentice’s dress, to impersonate his secretary. When Geraldine reappears she demands her clothing but then ducks behind the curtains. Sergeant Match has entered looking for Nick, who is alleged to have violated a group of schoolgirls at the hotel, and Geraldine, who is suspected of having certain parts of the statue of Sir Winston Churchill. Prentice says he does not know where either one is. Geraldine puts on Nick’s uniform, so that by the end of the act she is impersonating him and he her.

Act 2 begins one minute later. Match questions Geraldine, thinking her to be Nick. When Geraldine indicates confusion over which sex she is, Rance demands that she undress. She confesses that she is a girl, while Mrs. Prentice reports that “Miss Barclay” (Nick) refuses to undress in front of a woman. When Rance demands to know who Geraldine is, if not Nick, Prentice says she is “Gerald” Barclay. Rance gives Prentice a pillbox and tells him to take no more than the stated dose. Prentice supervises the undressing of Match. Nick dresses in Match’s clothing, while Prentice gives Match the pills and tells him to take as many as he wants, as they are harmless. When Match becomes unconscious from the pills, Prentice and Nick put Mrs. Prentice’s leopard-skin dress on him and drag him out.

Rance enters with two straitjackets. Nick claims to be his own brother, whom he has just arrested, but eventually confesses to Rance that he is the page boy. Rance asks for Nick’s help in putting the straitjacket on Prentice. Mrs. Prentice takes two guns from a drawer and offers one to Rance. Prentice is urging Nick, Match, and Geraldine to undress, in order to get them back in their proper clothing. A shot is heard and Match enters, wounded in the leg. Mrs. Prentice demands that Prentice...

(This entire section contains 863 words.)

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make love to her and, when he refuses, fires at him. Again a shot is heard and Nick enters, wounded in the shoulder. Geraldine, close to naked, enters and asserts that she is Geraldine; Rance insists that she is not. Nick threatens Prentice with a gun in order to get the straitjacket on him, while Rance tries to get one on Mrs. Prentice. Each psychiatrist tries to certify the other as mad.

When Rance pulls an alarm, metal grilles fall over the doors, and the lights go out. Rance questions the reality of Nick and Match. Prentice and Geraldine try to “confess” to the seduction that gave rise to the misunderstandings, and Geraldine reports the loss of her lucky elephant charm. Rance gives it to her, and Nick says he has one like it. Mrs. Prentice recognizes the two pieces of a brooch she was given years before by a man who raped her in the Station Hotel in the dark, after which she gave birth to twins. Prentice admits to being that man, and Mrs. Prentice tells Nick and Geraldine that she is their mother. Rance is delighted to have discovered an actual double incest. As they embrace, a skylight opens, a rope-ladder is lowered, and Match, in leopard-skin dress, descends. He demands the missing parts of Churchill, and Geraldine gives him a box which she first brought in. He opens it and holds aloft “the nation’s heritage,” the statuary phallus of Sir Winston Churchill. The characters climb the ladder into the light.

Dramatic Devices

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The play calls for a dizzying blocking: comings and goings through doors leading to the wards, the dispensary, and the hall, and through French windows leading to the garden. The frequent entrances and exits, especially to establish or prolong deceptions, disguises, undressings, and misunderstandings, derive from French bedroom farce, as do the many complexities based on props: various articles of clothing, bottles of whiskey, roses, scissors, a vase, a wastebasket, pillboxes, and so on. In pantomime, the play might look like a French farce, except for its medical location. Apart from the opening attempted seduction, however, no affairs are actually carried on during the play: The sex is mostly in words, not actions.

The farcical trappings serve as a pretext for the dialogue, which is the glory of the play. Responses are based on illogic and discontinuity, as if one speaker’s intention was only to supply an opening for the epigram or joke of the next:Geraldine: I’ve no idea who my father is. Dr. Prentice: I’d better be frank, Miss Barclay. I can’t employ you if you’re in any way miraculous.

Examples such as this may be found on almost every page.

The title What the Butler Saw is a tease or joke in itself, as the play has no butler and does not occur in a mansion with keyholes looking in on the set. Perhaps the title is merely a backward-looking tribute to French farce and Wilde, or perhaps it casts Joe Orton himself, and the audience with him, as the butler, the voyeur, in the new madhouse of modern sexual relations.

Places Discussed

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Dr. Prentice’s psychiatric clinic

Dr. Prentice’s psychiatric clinic. Office of Dr. Prentice, a psychiatrist, that is the play’s only set. Not part of England’s National Health Service, this private clinic caters to wealthy patients who pay for their care and treatment. Doors exiting from Prentice’s office lead to the clinic’s wards, a dispensary, and a hall, and French windows open to a pleasant garden. The office itself is furnished with a desk, bookshelves, a sink, and a consulting couch with privacy curtains.

Within the office’s walls, as Joe Orton’s masterfully intricate plot unfolds, charges of madness and instances of mistaken identity abound, as Freudian taboos seem to be flouted (and flaunted) with blithe impunity. Allegations and misperceptions include double incest, necrophilia, male and female cross-dressing, Oedipus and Electra complexes, voyeurism, various fetishes, nymphomania, lesbianism, and rape. Late in the second act, when an alarm is pressed, a siren wails and metal bars drop over each of the doors, transforming the office into a literal cage (or jail) as the lights go out and the set is lighted only by the glare of a bloody sunset.

Once a number of the characters’ crises are resolved, a skylight opens and Sergeant Match, a policeman, descends on a rope ladder. Weary, bleeding, drugged, and drunk, Orton’s characters then climb the ladder to the blazing light above, resolving to get dressed and face the world with renewed respectability.

Historical Context

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On January 25, 1965, the passing of Sir Winston Churchill marked the loss of a significant figure in British political and moral leadership. Serving as Prime Minister for the majority of World War II, Churchill emerged as a national hero. During this period, the British people faced severe hardships, enduring daily shortages alongside the fear and devastation caused by Nazi Germany's relentless bombing of London, famously known as the "blitz." Churchill's inspiring leadership and memorable radio broadcasts, which are still often quoted today, were crucial in maintaining British morale during those challenging times. He embodied British unity and resilience, and his death was mourned by both the nation and the world.

Today, it can be challenging for Americans to grasp the profound admiration the British had for Churchill, which was evident when Joe Orton symbolically defamed him in What the Butler Saw. Audiences were scandalized by Orton's irreverence towards Churchill's legacy, which was likely the reaction Orton intended to provoke. However, Orton's What the Butler Saw did not emerge in isolation. The 1960s in Britain witnessed an unprecedented rise in personal freedom and a rejection of traditional symbols of authority.

Understanding Orton's work requires recognizing the shifting attitudes toward sexual freedom during this era. Although movements advocating for what was known as free love existed in earlier decades, it wasn't until the 1960s that they gained substantial public backing. As is true today, many opposed premarital sex and same-sex relationships. Nevertheless, the prevailing trend was toward sexual liberation, a shift underscored by changes in British laws, which, prior to the 1960s, assumed government oversight over matters now considered private.

Throughout most of Orton's life, the homosexual relationships he engaged in were considered criminal acts. It wasn't until 1967 that consensual homosexual acts between adult males became legal. That same year, the Family Planning Act enabled local authorities to provide contraceptives, and the Abortion Act permitted the National Health Service to perform abortions, but only if two doctors deemed the procedure necessary for medical or psychological reasons. In 1969, the Divorce Reform Act allowed either spouse in a marriage to file for divorce, though only after five years of separation. While these laws might appear restrictive by today's standards, at the time, they represented a significant move away from governmental control over private matters.

During Orton's era, psychiatry was experiencing significant changes. At that time, as well as today, psychiatrists held the authority to declare someone mentally unstable and commit them to a secure psychiatric facility. They also had the power to administer medication or electroshock therapy to those patients. However, since the 1960s, legal measures have made it considerably harder for psychiatrists to limit a person's freedom unless it is deemed absolutely essential. In Orton's period, however, some psychiatrists began to view their patients differently. Psychiatrist R. D. Laing popularized the notion that schizophrenia and other mental disorders were a rational response to living in a chaotic society. This idea inspired the famous line from the Star Trek television series: "In an insane society, the sane man must appear insane."

According to Laing, individuals experiencing psychosis emerged with a profound understanding of the world. It was the so-called "normal" person, blindly conforming to societal norms, who was truly irrational. Laing's concept of finding wisdom in madness was mirrored in the prevalent use of psychedelic drugs during that time. Many users believed these substances expanded their consciousness, heightened their awareness, and provided a clearer insight into reality's true nature. Harvard Professor Timothy Leary, an LSD user himself, encouraged young people to experiment with psychedelic drugs, reject authority, and "tune in, turn on, drop out." Leary's message was shocking and infuriating to many who still cherished the structured society exemplified by figures such as Churchill. However, defiance against authority was emblematic of the 1960s and resonated with Orton's work.

Literary Style

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Farce

Farce is a genre of comedy distinguished by its humorous and extreme exaggeration. It typically features an absurd plot filled with comic twists, improbable coincidences, ludicrous dialogue, stereotypical characters, and slapstick humor. Elements of farce can be found in some ancient Greek plays. The form gained popularity in fifteenth-century France and remains popular today. Twentieth-century examples of farce include films by the Marx Brothers and Charlie Chaplin.

What the Butler Saw encapsulates all the hallmarks of farce, yet many critics argue that the play is actually a parody of a farce. This suggests that Orton is mimicking the farcical style to mock it. Distinguishing between a farce and a parody of a farce can be tricky, but certain aspects of Orton's play deviate from the traditional form.

The storyline of What the Butler Saw is undoubtedly absurd. It starts with a job interview that quickly spirals into chaos as Dr. Prentice tries to seduce Geraldine. Just as Geraldine undresses, Mrs. Prentice enters the scene. This coincidence sets off a chain of events, with Dr. Prentice resorting to increasingly ridiculous measures to conceal the truth about Geraldine from his wife. In his desperation, he declares Geraldine insane, forces Nick to wear women's clothing, and drugs Sergeant Match after making him undress.

The irrationality of his actions leads Dr. Rance and Mrs. Prentice to believe Dr. Prentice is insane, nearly landing him in a straitjacket. Unbelievable coincidences propel the plot further, as Mrs. Prentice finds Geraldine's nightgown and assumes she has been murdered, while Sergeant Match arrives searching for Nick and Geraldine. The most improbable coincidence occurs at the play's end when Geraldine reveals her elephant charm, Nick has a matching charm, Mrs. Prentice discloses she is their mother, and Dr. Prentice realizes he is their father.

The absurd dialogue is also a hallmark of farce. Throughout the play, the dialogue defies logic. Characters rarely say what one would expect. Dr. Prentice nonchalantly comments on Mrs. Prentice's infidelities. Mrs. Prentice offers to introduce her husband to young men. Geraldine cheerfully agrees to test Dr. Prentice's new contraceptive device. Nick claims the guardian of the schoolgirls he molested reported him because he didn't molest her. Much of this dialogue revolves around sexual topics. Orton satirizes societal norms by having his characters act as if these conventions don't exist. The characters' dialogue isn't intended to be realistic.

Orton incorporates stereotypical comedic characters in his work. Geraldine represents the naive girl, Dr. Prentice is portrayed as the sexual predator, Dr. Rance is the eccentric psychiatrist, and Mrs. Prentice is characterized as the nymphomaniac wife. In farce, these characters are depicted as absurd. Their ridiculousness is amplified by the over-the-top physical comedy. For example, Dr. Prentice frantically tries to conceal Geraldine's clothing; Sergeant Match, under the influence, collapses; Mrs. Prentice, clad only in a slip, crashes into a vase. The stage is a flurry of activity with characters hurriedly dressing and undressing, culminating in a chaotic finale filled with shouting, brawling, and even gunfire.

While Orton employs traditional elements of farce, he also subverts some of these conventions, leading some critics to label this play as a parody of a farce. Typically, farce might include onstage violence, but it is generally non-lethal, and no one gets seriously injured. In What the Butler Saw, however, Sergeant Match and Nick are shot and bleed, and Mrs. Prentice's hands are stained with blood. Furthermore, traditional farce usually concludes with a return to societal norms after the chaos subsides.

Although What the Butler Saw concludes with a scene of recognition that suggests a return to normalcy, Orton's ending remains dark. Ultimately, the revelations include Dr. Prentice having raped his wife and attempted to seduce his child, and Nick either having attempted to rape his mother or engaged in consensual sex with her. The play ends with the characters "weary, bleeding, drugged, and drunk," and despite Dr. Rance's final words hinting at a fresh start, there is a pervasive sense of moral decay. Orton uses the foundational elements of farce but manipulates them to create a play that is more nuanced than the traditional farce.

Deus ex machina

The Latin phrase deus ex machina translates to "god from the machine." This term originated in ancient Greek and Roman theater. In some of these plays, a complex situation is resolved when a god appears, instructing the characters on what to do or creating an ending that doesn't logically follow the play's events; the Greek playwright Euripides (Medea) was frequently accused of using such quick resolutions to conclude his plays. The term "from a machine" refers to the crane used to make the god appear in the sky before being lowered to the stage.

Today, the term describes an unlikely event that conveniently resolves a dramatic work. For example, in American western films, it is a common trope for the U.S. cavalry to arrive just in time to save a desperate situation. In contemporary times, employing a deus ex machina ending, unless intended for comedic effect, is often seen as a flaw in storytelling.

In What the Butler Saw, Orton satirizes the deus ex machina conclusion. The sudden appearance of Geraldine's brooch provides an unnatural resolution to the play. Orton amplifies this parody in the final scene. Sergeant Match descends from the skylight on a rope ladder, reminiscent of how a god would descend on a crane in ancient Greek theater. However, instead of being a majestic deity, Sergeant Match is a comical sight, clad in a leopard-print dress. Orton mimics the deus ex machina ending, but he does so to create humor.

Compare and Contrast

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1969: Society witnesses a burgeoning movement advocating for sexual liberation. Engaging in sexual activities outside of marriage is increasingly accepted, partly due to the advent of the birth control pill. Although homosexuality has recently been legalized, gay individuals still endure societal rejection and hostility.

Today: The sexual liberation movement of the 1960s has achieved broad acceptance. However, the threat of the AIDS virus has prompted many to consider abstinence and monogamy. The LGBTQ+ community has made significant social and legal advancements but still faces discrimination and hate crimes.

1969: Psychiatrist R. D. Laing suggests that madness is a rational response to an irrational world, and some psychiatrists align with him against conventional treatments for schizophrenia and similar disorders. Today: Scientific research has demonstrated that many mental illnesses are primarily influenced by biological factors. Innovative and more effective medications have transformed psychiatry. The success of these medications has led to the closure of mental hospitals, but many individuals with mental illnesses struggle to take their medications independently and cannot live successfully without support. Consequently, many become homeless.

1969: Young individuals protest, sometimes with violence, against the constraints imposed by government authority. The opposition to U.S. involvement in Vietnam garners global support among the youth.

Today: While some resistance to state authority persists, formal protests are less frequent and intense. Many young people adopt more conservative views.

Bibliography and Further Reading

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Sources

Bigsby, C. W. E. Joe Orton, Methuen, 1982. pp. 49-61.

Nightingale, Benedict. ‘‘The Detached Anarchist: On Joe Orton’’ in Encounter, Vol. LII, no. 3, March, 1979, 55-61.

Further Reading

Lahr, John. Prick up Your Ears: The Biography of Joe Orton, Knopf, 1978.
This is the most comprehensive biography of Orton, offering insights into both his personal life and his creative endeavors. Lahr's exploration of the relationship between Orton and Halliwell inspired the 1987 film, Prick up Your Ears, based on Orton's life.

Levin, Bernard. The Pendulum Years: Britain and the Sixties, Jonathan Cape, 1970.
This detailed book examines various facets of life in Great Britain during the era when Orton was active as a writer.

Rusinko, Susan. Joe Orton, Twayne, 1995.
Rusinko offers a concise biography along with an in-depth analysis of Orton's theatrical works.

Shepherd, Simon. Because We're Queers: The Life and Crimes of Kenneth Halliwell and Joe Orton, GMP, 1989.
In this examination of Orton's career, Shepherd argues that ‘‘the Orton industry,’’ as he terms it, mirrors societal bias against gay individuals. Shepherd aims to provide a ‘‘radical gay viewpoint’’ on Orton and his contributions.

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