John Kingsley Orton: “Ordinary Decent People”

Photographers Unknown, Parts and Pieces Making a Whole: Set Thirteen

Sir- As a playgoer of forty years standing, may I say that I heartily agree with Peter Pinnell in his condemnation of ‘Entertaining Mr Sloane’. I myself was nauseated by this endless parade of mental and physical perversion. And to be told that such a disgusting piece of filth now passes for humor! Today’s young playwrights take it upon themselves to flaunt their contempt for ordinary decent people. I hope that the ordinary decent people of this country will shortly strike back! Yours truly, Edna Welthorpe (Mrs)

—John Kingsley Orton, Letter Sent for Publication under the Alias of Edna Welthorpe

Born in Leicester, England in January of 1933, John Kingsley Orton, known under the pen name of Joe Orton, was a working-class, gay playwright whose outrageous black comedies shocked, outraged, and amused theatre audiences in the 1960s.

After attending secretarial classes at Clark’s College in Leicester from 1945 to 1947, Joe Orton worked as a junior clerk for three pounds a week. He began performing in theater productions beginning in 1949 and joined several groups, including the Leicester Dramatic Society. Orton was accepted for a scholarship at London’s Royal Academy of Dramatic Art in November of 1950; however, due to appendicitis, his entrance was delayed until May of 1951. It was at the Royal Academy that Orton met the seven-year older Kenneth Leith Halliwell, who also was a struggling actor and writer. After moving into a West Hampstead flat, they quickly formed a strong relationship and became lovers.

After graduation, Orton and Halliwell collaborated on writing several novels, which were unsuccessful at publishing. Due to a lack of serious work, they began to amuse themselves with pranks and hoaxes. From January 1959 to May of 1962, Orton and Halliwell removed books from several local public libraries and began to modify the blurbs and cover art. One volume of poetry by writer and broadcaster John Betjeman was found with a new dust jacket featuring a photograph of a nearly naked, tattooed middle-aged man. Discovered by the authorities in May of 1962 and later found guilty of five counts of theft and malicious damage to seventy books, the two men served six months in prison. A collection of these altered book covers are now housed in the Islington Local History Center.

In 1959, Joe Orton wrote his only novel, which was posthumously published as “Head to Toe”, and soon began to have success in his plays’ productions. His first play “Fred and Madge” was written in 1959; and “The Visitors” followed two years later. In 1963 the BBC purchased Orton’s radio play “The Ruffian on the Stair”, which was broadcast on August 31st of 1964 and, later in 1966, adapted as a stage play.

By the end of August, Orton had also completed his play “Entertaining Mr. Sloane”, which premiered on May 6th of 1964 to reviews which ranged from praise to outrage. Although it lost money on its short run, the play tied for first in the Variety Critics’ Poll for Best New Play, and Orton came second in the category for Most Promising Playwright. By 1965, “Entertaining Mr. Sloane” was being performed in Spain, Israel, Australia, and New York, as well as being adapted into both a film and television play.

Written between June and October of 1964, Joe Orton’s next play was “Loot”, a wild parody of detective fiction, which added the blackest farce and jabs at established ideas on death, the police, religion, and justice. It underwent sweeping rewrites before it was judged fit for the West End. “Loot” was first staged in London on September 27th of 1966 to rave reviews. In November the play moved to the Criterion Theater where it ran for three hundred forty-two performances, won several awards and firmly established Orton’s fame.

Orton, over the next ten months, revised his “The Ruffian on the Stair” and his “The Erpngham Camp” for the stage as a double play entitled “Crimes of Passion”. He also wrote his television play “Funeral Games”, the screenplay entitled “Up Against It” for the Beatles music group, and his final full-length play “What the Butler Saw”, a play of seduction, blackmail, and cross-dressing, which came to the West End stage in 1969, eighteen months after Orton’s death.

On the 9th of August of 1967, John Kingsley Orton was bludgeoned to death by Kenneth Halliwell at their home in Islington, London, killed by nine hammer blows to the head. Halliwell then committed suicide with an overdose of Nembutal. Later evidence showed that Orton had earlier confided to a friend that he wanted to end his relationship with Halliwell; and it also showed that Halliwell had spoken to his psychiatrist three times on the day of the murder. Halliwell had felt increasingly threatened and isolated by Orton’s success, and had come to rely on barbiturates and antidepressants. The bodies, along with Halliwell’s suicide note, were found on the morning of August 10th by a chauffeur who had arrived to transport Orton for a meeting in London.

The body of Joe Orton was brought into the chapel of London’s Golders Green Crematorium to a recording of the Beatles’ song “A Day in the Life”. Playwright and director Harold Pinter read the eulogy. After Orton’s cremation, his ashes and Halliwell’s ashes were mixed together and scattered in a section of the Garden of Remembrance at Golders Green; no marking memorial stone is erected there. A statue of Joe Orton was later installed in the city of Leicester and, in 1987, a film adaption of John Lahr’s 1978 biography of Orton was released under the title “Prick Up Your Ears”.

Note: For those interested in theater and gay history, an interesting article is Greg Buzwell’s 2019 “Homosexuality, Censorship, and British Drama During the 1950s and 1960s” located at the British Library site: https://www.bl.uk/20th-century-literature/articles/homosexuality-censorship-and-british-drama-during-the-1950s-and-1960s

Calendar: December 27

Year: Day to Day Men; December 27

Moss Green on a Field of Blue

The 27th of December in 1904 marks the theatrical premier of James Matthew Barrie’s play “Peter Pan”, also known as “The Little Boy Who Wouldn’t Grow Up”. The play was produced by Charles Frohman and opened at the Duke of York’s Theater in London. The lead character of Peter Pan was played by thirty-seven year old Nina Boucicault due to regulations regarding child actors. Gerald du Maurier doubled as Mr. Darling and Captain Hook.

Peter Pan first appeared in J. M. Barrie’s 1902 novel “The Little White Bird”. This original story focused on the fictional idea that all babies where at one point birds. The inspiration for the iconic scenes of Peter Pan flying can be drawn from that idea. Peter Pan actually appeared as a minor character in a few chapters of “The Little White Bird”.

The London play was met with positive reviews by both critics and viewers. In 1905, Frohman brought “Peter Pan” to New York where it premiered at Broadway’s Empire Theater. Maude Adams played Peter, a role she reprised in 1912 and 1915 theatrical runs. The Broadway role of Peter Pan was showcased by Marilyn Miller in 1924 and Eva Le Galliennne in 1928.

In 1906, Barrie published a second novel, entitled “Peter Pan in Kensington Gardens”, that expanded the character of Peter Pan through a series of adventures. Barrie continued to re-examine the character through multiple revisions of the play and, in 1911, wrote a third novel entitled “Peter and Wendy”. The story line for the novel was inspired by the revisions Barrie had made to the play.

“Peter Pan” made its first adaption as a musical in 1950 with music and lyrics by Leonard Bernstein. The play starred Jean Arthur as Peter Pan and horror icon Boris Karloff as Captain Hook. However, after its initial run, this adaption virtually vanished until 2018 when Bard College did a contemporary take on the show.

The best known “Peter Pan” musical is the 1954 adaption with Mary Martin as Peter Pan and Cyril Ritchard as Captain Hook. This play, directed and choreographed by Jerome Robbins, won Tony Awards for the lead actors. Broadway revivals starred Sandy Duncan in 1979 and ex-gymnast Cathy Rigby throughout the 1990s. In 2014, a live NBC telecast of the stage show starred Allison Williams as Peter and Christopher Walken as Captain Hook.

Calendar: November 1

A Year: Day to Day Men: 1st of November

The Revelation From On High

November 1st was the opening day of two of William Shakespeare’s plays.

On November 1, 1604, William Shakespeare’s tragedy play “Othello”, believed to have been written in 1603, had its first presentation in the Banqueting House at Whitehall. The story revolves around Othello, a Moorish general in the Venetian army, and his jealous and traitorous ensign, Iago. It is believed to be based on the story “A Moorish Captain” by Giovanni Battista Giraldi, the Italian novelist and poet. However, the story also resembles an incident in the tale “The Three Apples” from the “Arabian Nights” collection.

Shakespeare, while following the story of Giraldi, departed from it in some details, such as adding minor characters. The major departure is the death of the heroine Desdemona. In his presentation, Shakespeare has Othello kill Desdemona by suffocation, toning down the violence. In Giraldi’s story, the “Moor” bludgeons his wife to death with a sand-filled stocking, described in gruesome detail. In Shakespeare’s play, Othello, commits suicide; and in Giraldi’s tale Othello is exiled and then pursued by Desdemona’s relatives who kill him.

Later performances of “Othello” occurred in April of 1610 at the Globe Theater and at Oxford in September of 1610. It also was performed at the Blackfriars Theater in London by the King’s Men, an acting company to which Shakespeare belonged for most of his career. “Othello” was one of twenty plays performed by the King’s Men during the winter of 1612, in celebration of the wedding of Princess Elizabeth and Frederick V, the Electorate of the Palatinate region of the Holy Roman Empire.

On November 1, 1611, Hallowmas night, Shakespeare’s romantic comedy “Tempest”, believed to have been written 1610-1611, was first presented by the King’s Men before King James I and the English royal court at Whitehall Palace. This play was also one of the twenty plays performed to celebrate Princess Elizabeth’s marriage. The next recorded performance was at the Blackfriars Theater in 1669; this is supported by the stage directions written within the play script.

The “Tempest” differs from Shakespeare’s other plays, being organized in a stricter Neo-classical style. Shakespeare in the “Tempest” observed the three rules of drama: the play’s plot should have one action that it follows, with minimal subplots; the action in the play’s plot should occur no longer than a day’s span; a play’s plot should exist in a single physical space with the stage representing that place. Shakespeare’s other plays’s plots took place in multiple separate locations and over the course of several days or years.

Calendar: February 11

Year: Day to Day Men: February 11

The City’s Pier

The eleventh of February in 1938 marks the first televised broadcast of a science fiction program. The British Broadcasting Corporation, BBC, adapted Karel Čapek’s seminal play, “R.U.R. (Rossum’s Universal Robots)” into a thirty-five minute production which aired at 3:30 in the afternoon.

Born in January of 1890, Karel Čapek was a Czech writer, playwright and journalist. He became best known for his science fiction works, most notably the 1936 “War with the Newts”, a satirical work of exploitation and human flaws, and his “R.U.R.”, a three-act play with prologue that introduced the word robot to the English language. Although nominated seven times for the Nobel Prize in Literature, Čapek never received the award. Several awards, however, commemorate his name among which is the Karel Čapek Prize that is awarded to those who contribute to the reinforcement and maintenance of democratic and humanist values in society.

The robots in Čapek’s 1920 “R.U.R.” are not robots in the popularly understood sense of an automaton or a mechanical device. They were artificially biological organisms that were similar to humans. These robots more closely resembled more modern conceptions such as replicants ( 1982 Blade Runner ) or android hosts ( 2016 Westworld television series ). Their skin and brains were produced in vats, their bones in factories, and their nerve fibers, arteries and intestines were spun on factory bobbins. The robots, themselves living biological beings, were finally assembled on factory lines as opposed to grown or born.

“R.U.R.” had its first theatrical premiere on the twenty-fifth of January in 1921 at Prague’s National Theater. English writer Paul Selver translated the play into English and sold it to St. Martin’s Theater in London. The translation was adapted for British theater by actor Sir Nigel Ross Playfair in 1922. Performance rights for the United States and Canada were sold in the same year to the New York Theater Guild. The American premiere of “R.U.R.” took place in October of 1922 at New York City’s Garrick Theater on 35th Street in Manhattan where it ran for one hundred and eighty-four performances.

In April of 1923, actor and director Basil Dean produced “R.U.R.” in Britain for the Reandean Company at London’s St. Martin’s Theater. This version was based on Playfair’s adaptation and included several revisions from the New York Theater Guild. During the 1920s, the play was performed in several British and American theaters. In June of 1923, Karel Čapek sent a letter to translator Edward March with the play’s final lines that had been omitted from previous translations. A copy of this final and complete translation of Čapek’s play later appeared in the 2001 journal of “Science Fiction Studies”.

The BBC airing of Čapek’s “R.U.R.” occurred just two years after England launched the broadcasting service; it is unclear whether any recordings of the event survived. The play’s effects, though very rudimentary by today’s standards, made it very suitable for showing on the new television medium. Although its popularity peaked in the 1920s, Čapek’s “Rossum’s Universal Robots” became the foundation of many of science fiction’s modern franchises, both film and television.