What the Butler Saw - Interview with John Dorney (Doctor Prentice)

For those who don’t know, could you tell us a bit about the plot of What the Butler Saw

The plot is, like a lot of the best farces, incredibly convoluted, so there’s not much I can say with any brevity! But the set-up is that the play is set in a psychiatrist’s office where Doctor Prentice is interviewing a potential new secretary and decides to make an ill-timed attempt at seduction. He gets her to take her clothes off on the pretence of a medical examination but has to cover his indiscretion when his wife returns unexpectedly. As more and more people arrive, further lies add up and events spiral out of control to the point where absolute chaos rules. Plus, there’s stuff with a statue of Winston Churchill because of course there is. 

What drew you to playing Doctor Prentice?

The first time I came across the play was at drama school when a third of my year did a production of it. I wasn’t involved in it but everyone who was said that I really should be playing Prentice as the part was made for me. I’m not quite sure what that says about me, but it did mean there’s always been a hankering lingering at the back of my head that I’d love to do the play. But even without that I’d have been keen as it’s a great part in a great play. The chance to play with that language is irresistible. 

What the Butler Saw is the last play written by Joe Orton, what is it about his writing that still captivates audiences?

It’s his wit, really. It hasn’t aged a day. It’s sharp with the stylish flair you’d find in Coward or Wilde but filtered through the bawdiness of a ‘Carry On’ film, and given a dark, cynical, satirical edge that means it’s always doing more than just jokes. There’s a lot going on in his head. He feels like a precursor of modern shock comedians but I feel the offence has always got a point. He takes the nasty subtext of other farces and makes it text, then challenges you as to whether that’s acceptable. 

You’ve worked with director Michael Cabot before.  What are you looking forward to most about the rehearsal process with London Classic Theatre?

It’s great working with Michael as familiarity takes a lot of the wasted time out of the process. You don’t have to get to know each other as well as the text. You can just immediately move onto the story!

Having said that, all of the other actors in the show are new to the company and to me so I’m very excited to see new actors get to work - particularly having seen most of them during the audition process, so I know they’re going to be good.

Rehearsal is often like having the best seats in the house. You get to be the first people to hear the jokes and see the moments. And that’ll be a particular treat with this play. 

What do you hope audiences take away from this production?

People always ask why you’re doing a piece now. And the further I get into it the more relevance I can see to today, particularly in a post ‘me-too’ world. A good play is a living, breathing thing where the audience reaction will change over the years. What it says about power, responsibility and abuse is sadly still relevant. So, I hope they connect with that and find themselves asking important questions about change. Plus thinking it’s got some excellent (and extremely risqué) jokes!

And finally, why should audiences come to see What the Butler Saw?

It’s a chance to see one of the great farces of all time. It’ll make you laugh, it might even shock you, and it’ll leave you thinking afterwards. What more could you want from a night at the theatre?

What The Butler Saw plays at the New Vic Theatre from Tues 2 - Sat 6 July, and Malvern Theatres from Tues 9 - Sat 13 July