Rising British stars Calvin Demba (Evening Standard Emerging Talent Award nominee, The Red Lion, National Theatre), Sam Frenchum (Private Peaceful, Grantchester) and award-winning Sinéad Matthews (Mrs Elvsted in Ivo van Hove’s Hedda Gabler, National Theatre), are to star in the 50th anniversary production of Joe Orton’s darkly comic masterpiece, LOOT.
Calvin Demba and Sam Frenchum. Photo by Darren Bell
Uproarious slapstick meets dubious morals as two young friends, Hal (Frenchum) and Dennis (Demba), stash the proceeds of a bank robbery in an occupied coffin, attempting to hide their spoils from the attentions of a psychopathic policeman, a gold-digging nurse and a grieving widower.
When it premiered five decades ago, LOOT shocked and delighted audiences in equal measure and it scooped the Best Play of the Year Award in the 1967 Evening Standard Awards.
LOOT – from the same producers as the recent sell-out hit The Boys in the Band – is directed by Michael Fentiman, whose credits include two acclaimed shows for the Royal Shakespeare Company as well as the critically-acclaimed hit, Raising Martha. It will run at London’s Park Theatre from 17 August – 24 September.
It will then transfer to the Watermill Theatre, Newbury, Berkshire, from 28 September – 21 October.
The production celebrates three 50-year anniversaries: Joe Orton’s death on 9 August 1967; LOOT’s first award-winning West End season at the Criterion Theatre; and the momentous, transformative passing in July 1967 of The Sexual Offences Act, which partially decriminalised homosexual acts in private between two men over the age of 21.
Calvin Demba
Calvin had an early break in C4’s Hollyoaks then secured the lead in the hit youth drama Youngers. His other roles include a show-stopping turn in the award-winning play Routes at the Royal Court and the film London Road. He wrote and starred in his first short film RueBoy and will soon be seen in the action film sequel Kingsman 2: The Golden Circle
Sam Frenchum
Sam trained at RADA. He was in Holby City and Doctors then he had a guest starring role in six episodes of Grantchester as Gary Bell, a mentally-challenged teenager sentenced to hang for murder that was really an accident.
Sinéad Matthews
Sinéad trained at RADA. Her stage roles include Mrs. Elvsted in Ivo van Hove’s recent Hedda Gabler (National Theatre), Laura in Giving (Hampstead), Jane in Evening at The Talk House (NT), Heather in Wasp (Hampstead). As Hedvig in The Wild Duck, directed by Michael Grandage at the Donmar Warehouse, she won the Ian Charleson Award for Outstanding Newcomer. On film she was Queen Victoria in Mike Leigh’s Mr Turner, Miss Topsey in Nanny McPhee and the Big Bang, Alice in Mike Leigh’s Happy Go Lucky.
More casting to be announced soon
Director – Michael Fentiman Designer – Gabriella Slade Lighting Design – Elliot Griggs Sound Design – Max Pappenheim Casting Director – Stephen Moore CDG
Produced by Tom O’Connell, James Seabright and The Watermill Theatre in association with King’s Head Theatre and Park Theatre.
LOOT
by Joe Orton
Thursday 17 August – Saturday 24 September
Box office: 020 7870 6876
Previews: 17 – 19 August Plays: 17 August – 24 September
For prices and full performance details, please visit:
“the performance is full of energy, at times it feels almost like you are watching a ballet”
If you need to create a spooky Gothic atmosphere then there’s nowhere quite like Wilton’s. A haunting, dimly lit stage, eerie sounds and a haze drifting down into the auditorium. Shivers run down your spine before the performance even starts.
Two people appear on stage, one we soon discover is The Creature (George Fletcher) and the other (Rowena Lennon), we’re left unsure exactly who or what she is. The story starts with a recording, after which we relive the moment that Frankenstein’s creation is galvanised into life. Like a human child, we then witness how the being learns to talk, move and worryingly, start to feel emotion.
The creature in the novel (and in the narrative of this play) is described as a hideous huge beast; George Fletcher who plays the role is neither of those, he’s handsome and of quite normal stature, so at times it’s hard to see him as the grotesque monster he’s portraying. But he does an incredibly good job, his performance is full of energy, at times it feels almost like you are watching a ballet by the way he fills the whole stage with movement. A credit to Movement Director, Tom Jackson Greaves.
Rowena Lennon arguable has a more difficult role to play. She’s billed as ‘The Chorus’ yet appears to not only act out some of the minor parts, but also provide everything from sound effects to creating some moody lighting with the aid of a deftly manoeuvred ‘filament bulb on a stick’ (there’s probably a much better description for that, but you get the idea!).
Next year sees the 200th anniversary of the first publication of Mary Shelley’s novel and it’s seen many an interpretation during the last two centuries. This adaptation (by Tristan Bernays) is fairly true to the original story, but done as it is in near monologue form, makes it an original twist and a delight to watch.
It’s not particularly scary, but it doesn’t need to. This isn’t necessarily a horror story, it’s an emotional tale of a living being, desperate for companionship but with a savage brutality lurking within. Wonderful lighting design (Lawrence T Doyle) in a splendid location combined with a delightfully energetic cast, make this one to watch.
