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The Ruffian on the Stair

 
Richard Beck Review by Richard Beck 4 Published: 8 Aug 2024 The Royal Scots Club Show Dates: 5 Aug 2024-10 Aug 2024

It’s sixty years since Joe Orton’s The Ruffian on the Stair, was broadcast as a radio play and now his unmistakable style is brought to life by Edinburgh Graduate Theatre Group, (EGTG) at the The Royal Scots Club.

A black comedy production that reaches the heart of Orton’s style

Mike (Trevor Lord) and Joyce (Lois Williams) live together, unmarried, in a basic London flat, He describes himself as "derelict", though he looks quite smart. He’s a Roman Catholic, ex-boxer from Donegal who claims the dole while running people down for cash using his white van. Joyce is from London, an ex-prostitute and a Protestant. She spends her days at home, alone.

One day there is a knock at the door. She opens it to find Wilson (Ollie Hiemann), a very attractive, very cocky young man she’s never seen before. He says he’s come about the room. There is no room. But by now he’s inside and taking control of the situation as Joyce becomes increasingly anxious in the face of threats. When he asks the whereabouts of Mike’s gun the tension is further raised. Then he decides to leave, having done no harm. Joyce relates the story to Mike who thinks she is over-reacting, but the lad returns, meets Mike and so a series of events unfold into the classic Orton black comedy full of sexual undertones, irreverence for social norms and contempt for death.

There are fine performances all round. Williams captures the victimhood of a woman largely ignored and put down by Mike and abused by Wilson. Lord puts on a convincing Irish accent and knows exactly how to deliver Orton's outrageous comments with dead-pan sincerity, often fed by Joyce:

Joyce: Have you got an appointment today?

Mike: Yes, I'm to be at King’s Cross station at eleven. I'm meeting a man in the toilet.

Joyce: You always go to such interesting places.

With that clue, our suspicions about Mike are raised as soon as his lascivious eyes are set on Wilson. Together they perform an edgy scene on the sofa with Hiemann brilliantly playing the seducer with suggestive moves and alluring vocal tones. He is made for the part and many others that Orton created. Coincidentally, his birthday this week is on the same date as Orton’s death, and as an Edinburgh lad he does a convincing London accent.

There is confident direction from Robert Wylie, who delivers black comedy production that reaches the heart of Orton’s style.

Amir Nisi

Richard Beck

A graduate in theology and education, Richard acted and contributed to dance, drama and music productions throughout his teaching career. He joined Broadway Baby in 2014 and is now our Editor-in-Chief. He usually disappears to warmer climes for the winter to pursue his passion for travel.

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Mike and his van work odd hours for irregular contracts; Joyce has given up her profession for a home. Enter Wilson, a cocky young man seeking help in exacting a violent and idiosyncratic revenge. Joe Orton was known for his scandalous black comedies and in this, one of his earliest plays, the themes of sex, violence and death are shown playing themselves out in the everyday lives of Mike and Joyce and in Wilson, whose love for and loss of the man he calls his brother provides the catalyst for the disruption that unfolds.
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