Clothes are shed, sensibilities skewered, and political correctness defiantly ignored in this latest London revival of Joe Orton's wonderful play (the fourth, for what it's worth, in the capital during my time). But what most distinguishes Sean Foley's take on Orton's posthumously produced, gallopingly rude farce is the noise level of a show that is here played at a near-frenzied level throughout.read more
SOURCE: The Arts Desk at 03:44AM on May 18, 2012