LOS ANGELES TIMES
November 7, 2003
THEATER BEAT
The measure of
any production of Joe Orton is how well it moves, both through time and space.
By that measure, director Sean BranneyŐs crackling new production of What
the Butler Saw is a
winner.
If it does sound
and look a bit rough around the edges--strained diction here, a miscast actor
there--BranneyŐs Butler
does manage to build to a second-act crescendo of nihilistic chaos thatŐs
debilitatingly, inexplicably funny.
By the time it
reaches this particular point of no return--with people in various states of
undress and intoxication slamming doors, screaming in shock and running about
brandishing firearms--the show has thoroughly won us over to its brand of
mutually assured dysfunction.
Heading the cast
with grimacing good humor is Matt Foyer as Dr. Prentice, the psychiatrist whose
relatively innocent attempt to get into the pants of a secretarial applicant
(Carolyn A. Palmer) leads to a mountingly perverse series of misunderstandings,
misdiagnoses and misbehavior.
Matching him in
aplomb is McKerrin Kelly as his bed-hopping wife, who manages to alternate
bouts of credulous surprise and knowing cynicism without losing track of her
character.
Except for the
beguilingly wide-eyed Palmer, the rest of the cast isnŐt quite up to this
level. As Dr. Rance, the voice of unreason from Her MajestyŐs Government, Noah
Wagner is a shade too grinningly conspiratorial and his accent gives him
trouble. Josh Thoemke makes an acceptably deadpan hotel page and John Jabaley a
sternly slow-witted copper.
Not even slow
wits can stem this productionŐs headlong momentum. OrtonŐs world is always mad,
bad and dangerous to know. Presented this vigorously, itŐs also a revealingly
guilty pleasure.
--Rob Kendt