PICT SCORES WITH WHAT THE BUTLER SAW

F. J. Hartland 

           On one hand, Joe Orton’s WHAT THE BUTLER SAW is your typical farce—lots of door slamming, mistaken identities, cross-dressing and sexual innuendo. On the other hand, Orton’s use of language elevates the script to something by Oscar Wilde.

            And Pittsburgh Irish Classic Theatre makes WHAT THE BUTLER SAW work on both levels.

            Director Simon Bradbury keeps the pace moving at break neck speech, but never allows the brilliance of the language to be lost.

            The play takes place in the lavish office of Dr. Prentice (Douglas Rees) on the grounds of a mental institution.  Lecherous Prentice is in the midst of interviewing (i.e. seducing) a new secretary Geraldine (Amada Jane Cooper).  Prentice’s wife (Helena Routi) arrives, claiming to have been assaulted by hotel bellman Nicholas (Sam Trussell).  Also arriving is Dr. Rance (Martin Giles), another doctor who works for the government.  To hide his sexual infidelities from his wife as well as Dr. Rance, Prentice spins a web of deceit that only lands all of them in deep trouble.  And matters aren’t helped any by the arrival of the police officer Sergeant Match (Jeffrey Carpenter).

            The cast does an amazing job juggling both the language and the highly physical nature of the script.

            Things are only untangled with an ending that parodies The Importance of Being Earnest…and the help of Winston Churchill.

            Rees channels John Cleese (think “Lyle Finster” in Will & Grace) to play the over-sexed Prentice.  Ruoti plays Mrs. Prentice too much at one level of hysteria.  Both she and Rees have some very funny bits of business—like consuming what has to be three fifths of scotch during the course of the play.

            Giles is at his maniacal best as Rance.  There were times, however, when he seemed to get lost in the mountain of lines the role requires.  Like Ruoti, Cooper seems to keep everything at the same emotional level, but the playwright is really to blame for that.

            Though his role is small, Carpenter makes the most of it.  While he begins as a stuffy British sergeant, he transforms into—well, let’s just say you will never forget his final moments on stage.

            Trussell shows wonderful versatility in his role of the insolent Nicholas.  Before the final curtain of WHAT THE BUTLER SAW, Prentice has forced Nicholas to impersonate a secretary and a police officer—and Trussell does it brilliantly.

            The set by Gianni Downs is attractive and works well for the amount of physical action the play requires.  Like the characters, the set reveals some hidden surprises along the way.

            Playwright Joe Orton liked to think of himself as a “sexual outlaw,” and he lived up to that reputation in WHAT THE BUTLER SAW.  If you are easily offended, this is NOT the show for you.

            But if you are in need of a good belly-laugh (make that MANY good belly-laughs), then see WHAT THE BUTLER SAW. 

           Just don’t ask me to explain the title, okay? 

           WHAT THE BUTLER SAW runs through June 27.  For tickets, call ProArts at 412-394-3353.