Entertaining Mr Sloane Modern Classics edition by Joe Orton Literature Fiction eBooks
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Entertaining Mr Sloane was first staged in 1964. Despite its success in performance, and being hailed by Sir Terence Rattigan as 'the best first play' he'd seen in 'thirty odd years', it was not until the London production of Loot in 1966 - less than a year before Joe Orton's untimely death - that theatre audiences and critics began to more fully appreciate the originality of Orton's elegant, alarming and hilarious writing. Introduced by John Lahr, the author of Orton's biography Prick up Your Ears, Entertaining Mr Sloane is now established as an essential part of the repertoire of the modern theatre.
Entertaining Mr Sloane Modern Classics edition by Joe Orton Literature Fiction eBooks
When the film of Joe Orton's ENTERTAINING MR SLOANE opened in Manhattan (at what is now the Chapel of Faith, Hope & Charity) Andy Warhol went & declared it the most decadent thing he had ever seen. Poor Andy. He was more familiar with cookie jars than he was with the written word. Orton's take on middle-class morality isn't that much different from that of Shaw's Alfred Doolittle's except Doolittle talks about it & Orton gives us the experience. The way the Pope & Cardinals are handling the current sex scandal within the Roman Catholic Church would be right at home here. Orton's rude, funny lines often come at you from angles you didn't know were there. Kath, a middle-aged woman is showing Mr Sloane a room he can rent in the house she shares with her father (the Dadda) which is in the middle of a garbage dump. (In the movie this was changed to a cemetery which is, I think, a mistake.) Within a few minutes she's got the young man's trousers off & prone on a sofa. Enter her brother Ed who first wants the young man out but after giving him the once over offers him a job. The fourth member of the cast is the father who seems to remember something about the young man which isn't so nice. What Orton does with this central situation is always hilarious but also grounded in the experiences of his middle-class upbringing. His dialogue is at its best when the characters' words have nothing to do with the subject at hand. The advantage of reading scripts like this is that as you are unlikely to see a really satisfactory production of the play, in reading it you are only as limited as your imagination. Orton's work has the WILDE EFFECT. You never know when a line will suddenly pop into your mind & leave you helpless from laughter.Product details
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Entertaining Mr Sloane Modern Classics edition by Joe Orton Literature Fiction eBooks Reviews
Although it is now advised that you buy this book as part of Joe's collection of plays, this in it's self is still a wonderful addition to anyone's collection. From the hilarious old man Kemp who knows more than he is given credit for, to the perverse yet strangely intriguing Kath, Mr Sloane's "Mama" and lover. As is expected with any Joe Orton play this breaks all conventional boudaries yet still manages to be riveting entertainment. Like I say, get the collection to truly appreciate this under-rated genius, but you will not be dissappointed when you have bought, read, re-read and read again this truly unique play.
When the film of Joe Orton's ENTERTAINING MR SLOANE opened in Manhattan (at what is now the Chapel of Faith, Hope & Charity) Andy Warhol went & declared it the most decadent thing he had ever seen. Poor Andy. He was more familiar with cookie jars than he was with the written word. Orton's take on middle-class morality isn't that much different from that of Shaw's Alfred Doolittle's except Doolittle talks about it & Orton gives us the experience. The way the Pope & Cardinals are handling the current sex scandal within the Roman Catholic Church would be right at home here. Orton's rude, funny lines often come at you from angles you didn't know were there. Kath, a middle-aged woman is showing Mr Sloane a room he can rent in the house she shares with her father (the Dadda) which is in the middle of a garbage dump. (In the movie this was changed to a cemetery which is, I think, a mistake.) Within a few minutes she's got the young man's trousers off & prone on a sofa. Enter her brother Ed who first wants the young man out but after giving him the once over offers him a job. The fourth member of the cast is the father who seems to remember something about the young man which isn't so nice. What Orton does with this central situation is always hilarious but also grounded in the experiences of his middle-class upbringing. His dialogue is at its best when the characters' words have nothing to do with the subject at hand. The advantage of reading scripts like this is that as you are unlikely to see a really satisfactory production of the play, in reading it you are only as limited as your imagination. Orton's work has the WILDE EFFECT. You never know when a line will suddenly pop into your mind & leave you helpless from laughter.
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