In Joe Orton’s 1964 dark comedy, Entertaining Mr. Sloane, the line between family and treachery blurs—especially when murder and blackmail enter the equation. Greed and lust form an unsettling alliance in this intricately woven tale.
Sloane, the enigmatic title character, is contemplating Kath’s spare room when we first meet him. Portrayed by Jordan Stephens (of hip-hop duo Rizzle Kicks), Sloane dazzles with a confident grin. Tamzin Outhwaite’s Kath, captivated, exclaims, “You have the air of lost wealth,” as she touches his leg under the guise of maternal warmth. Before long, we witness their chemistry escalate: Kath straddles Sloane on a chaise, playfully admitting, “I shall be so ashamed in the morning.” With the arrival of her brother Ed, it becomes clear that Sloane’s charms will extend to him as well.
Orton’s debut full-length play established a unique style, combining polished dialogue with morally murky situations. With his keen understanding of human desire, he captures the tension between propriety and innuendo, leaving audiences on a precarious tightrope between laughter and discomfort.
The set, designed by Peter McKintosh, features a circular stage draped in chintz and surrounded by filth, while a collage of dark domestic items—like a pram and a birdcage—creates an unsettling family portrait. Director Nadia Fall choreographs the characters in a way that feels momentarily cozy yet deeply disconcerting.
The family dynamic is fraught with turmoil, particularly for Kath, whom Outhwaite imbues with a mix of foolishness and insight. Daniel Cerqueira’s Ed embodies a brash, overconfident charm: “Your youth pleads for leniency and by God I’m going to give it,” he declares, punctuating the often uncomfortable humor with a sense of menace.
What does Sloane truly seek? He is both a cunning opportunist and a man grappling with his identity. At one point, as he steps out into the shadows, the weight of his choices becomes palpable. He juggles the roles of Kath’s toy boy and Ed’s good-natured sibling, yet he seems adrift and unsure of himself.
While Orton’s play has certainly aged—its tight pacing giving way to moments of repetition—Nadia Fall’s directorial debut at the Young Vic captures the bleakness of human nature in all its complexity, reminding us that some themes never lose their relevance.
Entertaining Mr. Sloane is running at the Young Vic theatre in London until November 8.
