Review: Entertaining Mr. Sloane (Young Vic)

Review by Dan Ghigeanu

⭐️⭐️⭐️⭐️

Written in 1963 by Joe Orton, Entertaining Mr. Sloane first premiered in 1964 as a piece of theatre that confronted the prudish sensibilities of its time with a razor-sharp script full of dark humour, sexual innuendo, and moral ambiguity. Now, over half a century later, it returns in Nadia Fall’s bold and fresh revival at the Young Vic, proving that Joe Orton’s unhappy comic view of human nature remains surprisingly relevant.

The production delivers what it says in the title, in that it is indeed a very entertaining piece of theatre, but the entertainment doesn’t come from comfort or predictability. Instead, it comes from tension, unease, and a slowly unravelling sense of who is really in control. Nadia Fall directs the play’s themes of manipulation, repression, and power with sharp precision, crafting a production that is as gripping as it is hilarious.

Set in a small house just outside of London, Entertaining Mr. Sloane revolves around Kath, a lonely, sexually frustrated woman in her 40s who invites a young Mr. Sloane, into her home. He is charming, handsome, and apparently well-mannered, which turns out to be an irresistible combination to both Kath and her brother Ed. Under all this, lies something far more sinister, and as the three characters circle each other full of desire, jealousy, and control as the boundaries between victim and perpetrator get dangerously blurry.

Joe Orton's play is a clever commentary on moral hypocrisy and sexual repression. What struck me the most in this revival is how modern these themes feel. Though it may have been written in the early 1960s, the themes it explores of complicity and the abuse of power still resonate strongly today.

One of the boldest creative decisions in this production is to stage the play in the round, a choice that brings a sense of intimacy and voyeurism to the piece, appropriately enough. Peter McKintosh’s set, and costume design, though simplistic,  are very effective, offering subtle nods to modern times. Staging the show in the round allows the shifting power dynamics feel heightened as every aspect of them is completely exposed.

Best known for being one half of Rizzle Kicks, Jordan Stephens makes an accomplished stage debut in the title role of Mr Sloane, taking on the character with surprising ease. He brings a rogue sexy charm to the character, effortlessly switching between a supposed innocence and a more manipulative nature. Admittedly, there are moments where his performance could have benefitted from greater detail, though overall Stephens' proved impressive for a stage debut.

Played by Daniel Cerqueira, the character of Ed is a study in repressed desire and passive aggression. Initially appearing as a stabilising respectable figure, Cerqueira slowly reveals the darker instincts of the character with chilling subtlety. Christopher Fairbank gives an interesting and complex portrayal of Kemp, Kath and Ed’s ageing father. Though he attempts to act as the moral compass of the play, there is more to him than meets the eye with microaggressions that are often glossed over, but leave an uncomfortable feeling that lends itself well to the overarching morality tale. Fairbank delivers these contrasting characteristics well, showing warmth at times and a coldness at others. n

The standout performance undoubtedly belongs to Tamzin Outhwaite in her turn as Kath. Capturing the character’s desperate need for affection with both sadness and humour, she portrays her flirtatious acts with hints of deeper emotional damage, and performs the role’s comedic beats with immaculate timing  - all thewhile grounding the character in an obvious sense of loneliness. It's a dynamic, richly layered portrayal that draws out both laughter and discomfort and a performance that demands Outhwaite give all she has, which she effortlessly does.

Nadia Fall’s direction is sharp and clear, highlighting Joe Orton’s text without ever losing the play’s essential humour. She embraces the absurdity of the situation while ensuring the stakes remain emotionally credible, balancing the piece perfectly between comedy and tragedy, making you laugh before gradually giving way to a more unsettling recognition of the characters’ questionable morals. Her greatest success lies in how she brings out the play’s timeless relevance in a testament to both her vision and her respect for the material.

This revival of Entertaining Mr. Sloane at the Young Vic is a compelling and sharply executed production that reminds us just how enduring Joe Orton’s work is. The exploration of manipulation, desire, and the facades we wear in society still cuts deep. While the play’s humour remains razor-sharp, the dark bits of the piece are the true star. In a time when conversations around power and coercion are more vital than ever, this production highlights the ways in which charm can mask cruelty and how, in the pursuit of one’s own desires, we might turn a blind eye to the damage we cause. Whether you go for the laughs, the performances, or the thrill of being just a little too close to the action, Entertaining Mr. Sloane delivers. It entertains, yes, but not without making you twitch and that’s exactly the point.

Entertaining Mr Sloane plays at the Young Vic until 8th November. Tickets from https://www.youngvic.org/whats-on/entertaining-mr-sloane

Photos by Ellie Kurttz