The Ruffian on the Stair by Joe Orton

By Joe Straw

Mike’s (Brian Foyster) right eyelid folds over the sclera of his right eye. It is a sign of too much conflict in life  – at times, it happens to his left eye, a sign, but only a brief glimpse of his humanity. And it’s no wonder, this character has lived a precarious life – one that has caused great bodily harm – or injury – this aggressor – well let’s not beat around the bush – he kills people.

No matter. Life, for Mike, is about looking immaculate, bow tie, suit and other accoutrements, making it an exclamation point when venturing outside before committing an act of transgression.  

It is sad that Mike has to live this life, but he does so almost without a care in the world. He is a Catholic, an ex-boxer, and a thug from Donegal, Ireland and rarely thinks about the “what if’s”.  But, but there’s also something to be said - that he probably wouldn’t be living in a tiny bebsit if he had had a nine to five job, something that paid a little more than minimum wage without resorting to killing anyone or running them down with his van.

Mike is hiding and is keeping a very low profile.

Today, tonight, yesterday, or some other indiscriminate time of day Mike is shaving, in the kitchen washing bowl, dressed up to the hilt to meet a man in the lavatory about something nefarious.  

Mike’s partner is Joyce (Síle Bermingham).  She has seen better days, labeled now an ex-prostitute in leisure wear befitting a lower working class Protestant in England in the year of someone’s lord 1964. 

Joyce’s home has an eclectic taste of someone who is not an experience homemaker although she gives it a good go. Stacks of dishes and saucers are scattered on a makeshift cabinet, a washbasin on another, and teapots flounder on an old stove.  The wallpaper is crinkled, and whatever photographs are on the wall have long since faded into a chaos of shadows.   A colorful crocheted afghan lies on the couch and the couch seat pads, lying with distain, are torn. And on the couch a book, old and baked brown from the sun, and read too often, possibly by someone with comprehension issues.  Either way, too many of the edges are frayed and the spine is broken and wrinkled into fragile disrepair.  

Behind the wall, one suspects, is the bedroom they share. And if one listens carefully one can hear the noise of flapping water coming from a fishbowl in the next room.

There are a lot of little fine details in Mark Kemble staging of the play. The visuals keep your mind engaged throughout the one-hour presentation. The acting is top notched by experienced lifetime members of The Actors Studio and they were connecting throughout the evening.

That said, the ruffian, Wilson (Reed Michael Campbell) at the doorway (with hands protruding) doesn’t play well, was too excessive, and was dismissive in the introduction of an important character, his manner, and the manner in which he takes control of her flat. 

But, was this production theatrical? Did it go far enough? And, did Kemble give this play a viable stamp?  Originally The Ruffian On The Stair was broadcast on British radio and was later adapted for the stage. And, giving the play some thought for 1963 - a comedy with a hit man, an ex-prostitute, and a gay man in an incestuous love relationship are some pretty heavy stuff for a comedy back then.  But, this version by Kemble plays it pretty straight or it seemed that way, and some moments on stage were up for abstruse speculations.  Given it was a performance seen early in the run, things happen, but this production needs a viable edge.  What one saw was not a bad, in fact is was even good, but, there's more life to be had here.   

Tastes are always up to the observer.

Síle Berminghamis engaging as Joyce.  Certainly she gets the working class down pat. But one wonders about the backstory of this character, her life as a prostitute mixed in with her life now. She lets the ruffian get the better of her without bringing her past life of dealing with other men she has encountered. This Joyce is scattered and meek and thinks her “husband” will right all wrongs.  Also, she is still a sexual being and thinks little of an attractive man entering her flat or what he really wants.  One wonders about giving this character so little strength in a character that is an equal to the other two.

Brian Foyster is menacing as Mike.  That we get, but we get little of what he wants in the end.  He is dismissive of his companion’s story and later he even lets the ruffian into the apartment to have a cup of tea. Why he takes the second shot when little makes him do so. His interest in the ruffian doesn’t move him in the slightest, either as a sexual being, or as a collaborator in future events.  Also, he has little regard as to why the ruffian is in his place, in the first place, or why the ruffian is in the apartment alone with his companion.

Reed Michael Campbellseems to do everything right as Wilson.  The words flowing from his being is natural and has a very nice presence on stage.  He is menacing in his own way and knows what he wants. But, there is another emotional level of an incestuous heartbroken brother. There is only one objective here and how Campbell goes about it are the creative choices he must make. Wilson knows a lot about the two people he has confronted and when he explores the ways, through dialogue, he must pick those moments that lead to the finality. He is a sexual being, an ambiguous one at that, but shows little regard in the manner in which he treats his two counterparts.  Mystery plays an important part in his being.  He is omnipotent, godlike, in the ways he know he can manipulate people through his knowledge of the beings around him.

Brian Foyster did triple duty as Producer, Set Design, and Actor, which leaves little room to concentrate on a creative objective. But, sometimes that is what you have to do.  

I liked it.  I just wish..

The production team is as follows:

Brian Foyster – Producer

Adam Earle – Lighting Design & Stage Manager

Matthew Richter – Sound Design

Brian Foyster – Set Design

Dennis Peraza – Assistant Stage Manager

Ken Werther Publicity – Press Representative

Noah Torjesen – Poster Photographer

Thomas Zoeschg – Poster & Program Design

Run! Run! And take someone you haven’t thought about in a long time.