A Last Hurrah? Joe Orton's 'Until She Screams,' Oh! Calcutta! and the Permisive 1960s

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A Last Hurrah? Joe Orton's 'Until She Screams,' Oh! Calcutta! and the Permisive 1960s. / Saunders, Graham.

In: Studies in Theatre and Performance, Vol. 37, No. 2, 10.04.2017, p. 221-236.

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@article{4fc48261001245e8aabf997c6163da54,
title = "A Last Hurrah? Joe Orton's 'Until She Screams,' Oh! Calcutta! and the Permisive 1960s",
abstract = "In February 1967 Joe Orton submitted a sketch to Kenneth Tynan{\textquoteright}s erotic review Oh! Calcutta! Originally written in 1960 as The Patient Dowager and retitled Until She Screams, Orton would not live to see it performed in his lifetime, and it would not be until the show{\textquoteright}s London opening in July 1970 that audiences would get a chance to see this last {\textquoteleft}new{\textquoteright} work by Joe Orton.Overlooked in existing studies on Orton, this article reassesses Screams, not only in terms of it being a precursor to some of the themes and ideas in Entertaining Mr Sloane (1964) and Loot (1966), but as an indicator for what a second redraft of Orton{\textquoteright}s final full-length play What the Butler Saw (1969) might have resembled, together with the style and tone of the next play he was planning, a historical farce provisionally entitled Prick up Your Ears. The article also assesses the extent to which Orton{\textquoteright}s sketch accommodated Tynan{\textquoteright}s aims for Oh! Calcutta! as being a celebration of sexual liberation at the end of the 1960s, and how far it subverted myths about the permissive society of the late 1960s that Orton did not live to see. ",
keywords = "Oh! Calcutta!, Joe Orton, Kenneth Tynan, censorship, permissive",
author = "Graham Saunders",
year = "2017",
month = apr,
day = "10",
doi = "10.1080/14682761.2017.1309835",
language = "English",
volume = "37",
pages = "221--236",
journal = "Studies in Theatre and Performance",
issn = "1468-2761",
publisher = "Taylor & Francis",
number = "2",

}

RIS

TY - JOUR

T1 - A Last Hurrah? Joe Orton's 'Until She Screams,' Oh! Calcutta! and the Permisive 1960s

AU - Saunders, Graham

PY - 2017/4/10

Y1 - 2017/4/10

N2 - In February 1967 Joe Orton submitted a sketch to Kenneth Tynan’s erotic review Oh! Calcutta! Originally written in 1960 as The Patient Dowager and retitled Until She Screams, Orton would not live to see it performed in his lifetime, and it would not be until the show’s London opening in July 1970 that audiences would get a chance to see this last ‘new’ work by Joe Orton.Overlooked in existing studies on Orton, this article reassesses Screams, not only in terms of it being a precursor to some of the themes and ideas in Entertaining Mr Sloane (1964) and Loot (1966), but as an indicator for what a second redraft of Orton’s final full-length play What the Butler Saw (1969) might have resembled, together with the style and tone of the next play he was planning, a historical farce provisionally entitled Prick up Your Ears. The article also assesses the extent to which Orton’s sketch accommodated Tynan’s aims for Oh! Calcutta! as being a celebration of sexual liberation at the end of the 1960s, and how far it subverted myths about the permissive society of the late 1960s that Orton did not live to see.

AB - In February 1967 Joe Orton submitted a sketch to Kenneth Tynan’s erotic review Oh! Calcutta! Originally written in 1960 as The Patient Dowager and retitled Until She Screams, Orton would not live to see it performed in his lifetime, and it would not be until the show’s London opening in July 1970 that audiences would get a chance to see this last ‘new’ work by Joe Orton.Overlooked in existing studies on Orton, this article reassesses Screams, not only in terms of it being a precursor to some of the themes and ideas in Entertaining Mr Sloane (1964) and Loot (1966), but as an indicator for what a second redraft of Orton’s final full-length play What the Butler Saw (1969) might have resembled, together with the style and tone of the next play he was planning, a historical farce provisionally entitled Prick up Your Ears. The article also assesses the extent to which Orton’s sketch accommodated Tynan’s aims for Oh! Calcutta! as being a celebration of sexual liberation at the end of the 1960s, and how far it subverted myths about the permissive society of the late 1960s that Orton did not live to see.

KW - Oh! Calcutta!

KW - Joe Orton

KW - Kenneth Tynan

KW - censorship

KW - permissive

U2 - 10.1080/14682761.2017.1309835

DO - 10.1080/14682761.2017.1309835

M3 - Article

VL - 37

SP - 221

EP - 236

JO - Studies in Theatre and Performance

JF - Studies in Theatre and Performance

SN - 1468-2761

IS - 2

ER -