If you’re into 1960s-British-slapstick shenanigans, then Loot by Joe Orton is for you! You’ll have just as much fun as the cast onstage.
Loot is a classic example of midcentury British humor: part Whodunnit, part mistaken identity farce, a whole coffin of laughs. Directed by Alice Russo, this cast is a clear collection of friends who have no problem dragging each other around the stage.
Orton’s play begins with a depressing older gentleman (played by Chris Groves) who has just lost his wife, but not to worry, the nurse (Alice Russo) of the late Mrs. McLeavy is happy to hold Mr. McLeavy’s hand…and his wallet! If it weren’t for that pesky son of his, that is! The play follows two partners in crime, Hal and Dennis, played by Alex Jakob and Ben Pabla respectively, after they’ve robbed the bank next to the funeral parlour, but where oh where do they hide all that cash…
This is where the real shenanigans begin as the pair of young men try to outwit Inspector Truscott (Kurtis Bright) while keeping the nosy nurse at bay and getting away with the goods. The playful nature that all the actors bring to the story is illustrated in their embrace of the absurd nature of the writing, running around the coffin centerstage like characters out of a Hannah Barbera cartoon playing hot potato with a dead Mrs. McLeavy (courtesy of Props Master, Alba Phillips, in the role of the inspector’s goon) and a chest full of money.
Though the cast find themselves falling often into the trap that is this style of sharp wit and rapid-fire dialogue, getting stuck in the rhythm of Orton’s quips, by the time the dramatic action picks up, so does the cast. Although truth be told, some of the best moments happen when no one is saying anything at all. To watch the characters interact outside of the main action, picking fights with each other and whispering presumed diatribes and schemes, it’s clear to see not only the relationship between characters but the cast members themselves.
The best part of this production is the chemistry between castmates and the inclination for physicality and timing that can, of course, be expected from a stage full of comedians. Groves and Russo in dry, stoic roles perfectly contrast the absurdity of Bright and Pabla with Jakob as an intermediary, conforming to whoever he’s around. If you’ve seen any of these comedians onstage before, then it’s clear to you as I’m sure it was to Russo, as a director, that each character is a very comparable reflection of each performers’ comedic style.
And that right there is the strength of this piece, although not technically perfect, watching a tight-knit ensemble find the joy in the absurd makes for an evening of laughs. Produced by Barcelona Theatre Group, Deaf Donkey Productions.
