REVIEWS REVIEWS
Set in the 1960s, the theme of Joe Orton’s play Loot, corruption and deceit, still has resonance today. The play is based on a farce with actions and humour that was reminiscent of the sixties, some of which is now dated and does not bring the laughter that might have characterised the earlier acclaim for the play. Farce leads you to anticipate the humorous actions that are about to occur and in this production the humour came after the event and after deliberation.
The scene is opened with preparations for the funeral of McLeavy’s wife, supported by the efficient nurse Fay, played by Pooky Quesnel; a sixties setting by Tom Piper with clear direction by David Farr for a traditional Catholic funeral. McLeavy’s son, Hal, played by Edward Hogg, who has just committed a bank robbery, demonstrates that he is the rebellious sixties son by not intending to attend the funeral, but who later will show that his inherent traits of honesty cannot be hidden. Throughout his performance Hal tries to convey his homosexual leanings and immaturity, which is portrayed in a Frank Spencer imitation of voice and mannerisms, which does not quite achieve the farcical nature of the role or bring forth the laughter which might be expected. Hal, with his friend in crime the undertaker Dennis, played by Luke Jardine, determine on hiding the bank loot in the coffin and remove Hal’s mother’s body to the wardrobe. The deceitful entry of Inspector Truscott, played by Clive Francis, as a Water Board employee, attempts to demonstrate that through his position in society he has the authority to demand compliance. To achieve this performance Truscott requires commanding actions and guile, both of which were present but in a diluted form. Fay manipulates everybody to achieve her financial rewards by trying to gain marriage with McLeavy, a percentage share of the loot, and by outwitting the Inspector. Her performance moved between attempted seduction and the efficient, professional con artist but one wonders if her role would have been more convincing with greater fluidity of movements. As the play emerges through several different scenarios McLeavy, played by Andrew Melville, becomes the important character, with an excellent portrayal of the grieving widower, righteously indignant, moral man and finally the victim of a corrupt society. The final verdict is victory for corruption and loss for moral values.
Loot is easy to watch and engage with. However, the spontaneous and anticipated laughter that normally goes with a farce seemed to be missing. Was this the result of an audience that did not appreciate the sixties humour or that the movements and tones missed the essential ingredients of a farce? With three weeks to run for this play at Bristol Old Vic, maybe the success of the play will be dependent on the engagement of the audience. © JG
“Loot” is in Bristol on the 5th of March until the 27th of March, 2004.
