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By the Short and Curlies

Reviewed by Lisa Clark in Big Dipper
A lovely little one man play by Barry Lowe about the life of gay black-comic ‘60s playwright Joe Orton. It was well written, evoking Joe’s black humour and brilliantly performed by Alastair Tomkins who looked astonishingly like Joe and had an appealing saucy swagger.

Joe tells his story as a ghost in a bloodstained Tshirt and pyjama pants, looking back on his fascinating life and re-enacting parts while commenting on reasons behind his actions. For me, a huge Joe Orton fan, it was like meeting an old friend. I’ve red The Orton Diaries, as well as his friend Kenneth William’s diaries, I even put on an Orton play at uni – The Good & Faithful Servant, so I was very familiar with the subject and enjoyed it immensely, considering it a faithful interpretation of Joe’s short life – a lot of research has gone into the play. It had some sharp observations and insights, not only about Joe, but also about interpretations of his life and how perhaps we are more interested in his infamous colourful life than his plays. It was a simple set of furniture pieces covered in sheets, which he uncovered in turn, as they became involved in the story with a few simple props and costume changes.

Joe’s partner Kenneth Halliwell was a strong presence as a disembodied voice and also in the hammer that is featured throughout. The last scene, a re-enactment of Kenneth murdering Joe, using only the sound of 8 hammer blows as Joe lies under a bloodstained sheet was truly chilling. I must praise the sound and lighting of the show which was superb.

Reviewed by Matt Joyce in Buzzcuts 11/10/05
There are several reasons why this production should have been a bit tenuous, if not downright amateur. By contrast, it was the one of the most refreshing snippets of theatre I have seen in a long time - but I'll get to that. For one: its subject. English playwright Joe Orton, while revered in gay and lesbian circles, is largely forgotten. Successful queer people who are violently anti-establishment generally are.

Secondly: the acting. Alastair Tomkins did everything. Yes, it was a one-man show. Thirdly, the turnout. I know it was a Monday night, but there was no more than twenty people in the audience, bringing new meaning to the clichéd phrase “criminally unattended”. Despite all these potential problems, director Bernie O'Regan and (lone actor) Tomkins kept the proceedings slick and entertaining. Orton, and his lover Kenneth Halliwell's life was as confronting as his plays, defined by drug use and promiscuous sex, and it was unflinchingly recreated. By the Short and Curlies also had the ubiquitous bloody ending - Halliwell bludgeoned Orton's face with a hammer in their London flat, just before Orton was due to begin work on a film for The Beatles, in 1967. Such violence was appropriate. Tomkins' schizophrenic performance was surely the centrepiece of the night. He had a grace to his movements and language that seemingly channelled the boyish charm of Orton himself.

The impressiveness of it all was only slightly diminished by the annoying “pantomime” voice-over of Halliwell, booming over the speakers like an omnipresent 'Big Gay Al'. Deliberately absurdist? Perhaps, but it was grating. This is a minor gripe, however. By the Short and Curlies was gloriously offensive, and although it's anti-mainstream message, facilitated through the avant-garde life of Orton, was hardly subtle, O'Regan's savvy direction and Tomkins fine acting ensured they were able to get away with it.

Buzzcuts review of the of 'By the Short and Curlies'