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Entertaining Mr. Sloane

Entertaining Mr. Sloane

Orton, Joe

Entertaining Mr Sloane was first staged in 1964. Despite its success in performance, and being hailed by Sir Terence Rattigan as 'the best first play' he'd seen in 'thirty odd years', it was not until the London production of Loot in 1966 - less than a year before Joe Orton's untimely death - that theatre audiences and critics began to more fully appreciate the originality of Orton's elegant, alarming and hilarious writing. Introduced by John Lahr, the author of Orton's biography Prick up Your Ears, Entertaining Mr Sloane is now established as an essential part of the repertoire of the modern theatre

Paperback, Book. English.
New ed.
All formats and editions (3)
Published London: Methuen, 1986, c1964

Available at All Saints.

  • All Saints – Five available in 822.914/ORT

    Barcode Shelfmark Loan type Status
    17232619 822.914/ORT Two Week Lending Available
    18739202 822.914/ORT Two Week Lending Available
    18739180 822.914/ORT Two Week Lending Available
    18739210 822.914/ORT Two Week Lending Available
    18739229 822.914/ORT Two Week Lending Available

Details

Statement of responsibility: Joe Orton
Edition statement: introduced by John Lahr.
ISBN: 0413413403, 9780413413406
Note: Three men, 1 woman.
Note: Previous ed.: London: Hamish Hamilton, 1964.
Physical Description: 97 p. ; 19 cm.
Subject: Drama in English 1945- Texts

Reviews

'This is a play that has dated no more than The Importance of Being Earnest.'
Benedict Nightingale, The Times, 31.1.09||'Forty-five years after its London premiere, Joe Orton's Entertaining Mr Sloane comes up almost as fresh as a four-leaf clover. If there has been a funnier British comedy since Oscar Wilde's The Importance of Being Earnest, I cannot recall it.'
Nicholas de Jongh, Evening Standrad, 2.2.09||'Entertaining Mr Sloane retains its power to provoke and startle. It is a truly amoral piece, wild, witty and utterly heartless.'
Charles Spencer, Daily Telegraph, 2.2.09||'The play's language, with its sly double entendres and surreal subversiveness, remains distinctive, crying out for liberation from the restrictive social context of its original creation.'
Robert Shore, Metro (London), 3.2.09