What Joe Orton saw (2012)

Theatre Review from the November 2012 issue of the Socialist Standard

Joe Orton’s 1969 play, What the Butler Saw, was recently performed at the Vaudeville Theatre in London and starred Omad Djalli and Tim McInnerny. This farce by “the Oscar Wilde of Welfare State gentility” attacks petty bourgeois morality, sexual prudery, marriage, hypocrisy, conservative values, authority (“Accept your condition without tears and without abusing those placed in authority”), religion (“reject all paranormal phenomena. It’s the only way to remain sane”), psychiatry, and the police. Orton, influenced by Artaud, celebrates anarchy, the Dionysian pleasures of poly-sexual gratification and nymphomania, and delights in sadism, transvestism, ‘madness’, incest, gender identity confusion, and the base human appetites of lust for money and power.

What the Butler Saw has echoes of Sophocles’ tale of Oedipus and his mother/wife Jocasta, the ‘madness’ of Caligula, and the Carry On films. Orton wrote critically of the film, The Marat/Sade: “Let’s look at mad people. At queer people.” Interestingly, in his play there are no ‘lunatics’ just doctors, and he parodies the traditional Freudian psychologist. Freud was the bourgeois psychiatrist and defender of capitalism who went from an emphasis on Eros to Thanatos. It is only with Reich do we get psychoanalysis with Marxism and the development of psycho-sexual health for the working class. The 1960s saw a radical shift in psychiatry with the use of LSD therapy and the RD Laing ‘anti-psychiatry’ school. Fromm in The Sane Society identified the contradictions in capitalism between ‘having’ and ‘being’, and the need for a sane socialist society. Orton writes: “You can’t be a rationalist in an irrational world. It isn’t rational”.

Orton had no time for the ‘work ethic’ (“I resented having to go to work in the morning”), adopted a Nietzschean outlook (“reject all the values of society”), and disliked bourgeois capitalist society, writing with echoes of Reich that “sex is the only way to smash the wretched civilization, the only way to infuriate them, much more fucking and they’ll be screaming hysterics in next to no time”. He pungently added: “the old whore society really lifted up her skirts and the stench was pretty foul”. Orton also perceived the contradictions of bourgeois liberalism noting: “I don’t like the sort of liberal that is reactionary underneath”.

Orton satirises Britain’s ‘popular’ wartime leader Churchill who died in 1965. In 1967, Hochhuth’s play Soldiers implicated Churchill in the 1943 Sikorski crash. This member of the capitalist class is also responsible for miners killed in Tonypandy, anarchists burned to death in Sidney Street, 150,000 war deaths in Gallipoli, millions of deaths in the Bengal Famine of 1943, half a million deaths in Allied bombing of German cities, threats to machine gun strikers in the 1926 General Strike and the gassing of Kurdish rebels in Iraq in 1920.

In the 1960s the Lord Chamberlain would not allow Churchill’s phallus at the end of the play, so it was replaced with his cigar.

Steve Clayton

Prick Up Your Ears (1987)

Film Review from the August 1987 issue of the Socialist Standard

Prick Up Your Ears (Stephen Frears)

This film charts the meteoric rise and gruesomely spectacular end to the careers of two of the most influential dramatists of the late sixties—Joe Orton and Kenneth Halliwell.

Both men were homosexuals. They lived in a tiny Islington bedsit, wrote plays, decorated the walls of their cage with cuttings from magazines, defaced library books with suitably lewd amendments to their dust jackets and returned them to the shelves (for which they were imprisoned for six months). They also spent a good deal of time cottaging (the pursuit of sex in public toilets) from which the pair built up the Orton Gazetteer of Convivial Conveniences.

But this lifestyle could not last. After they came out of prison the two men grew apart. Orton was writing with confidence and becoming successful while Halliwell became increasingly disconsolate and insecure. The Orton diaries, covering the last eight months of his life, catalogue the descending spiral of Halliwell's decay. Orton's own promiscuous marathons and the eruption of his career, culminating in an Evening Standard Drama Award and the offer to script a Beatles film. Halliwell, ignored uncredited, and left alone with his growing sense of failure, could take no more and, on 9 August 1967 took  a hammer and splattered his lover's brains over the walls of 25 Noel Road, N1, then overdosed on barbiturates.

The intensity and frustration of their existence is conveyed well by the leading actors, in particular by Alfred Molina who plays Halliwell. There are also good cameo performances from Julie Walters as Orton's mother and Vanessa Redgrave as Orton's predatory agent (parallels here with her real-life political activity?).

The laughter, mockery and absurdity with which the characters in Orton's plays could transcend intolerable situations Orton could not match in real life. He, quite literally, lost his head.

Harvey Harwood