Review: LOOT at Edge Of The Universe Theater

Billed by Edge of the Universe Theater as “Monty Python meets Oscar Wilde,” Loot is a quirky, satirical snapshot of 1960s Britain that shares images of 2020s America. Written in 1965 by controversial playwright Joe Orton, Loot explores religious, moral, and institutional corruption through the collision of a bank robbery and a funeral. The play was divisive in its day for being so counter-cultural, but in modern America, the distance heightens the comedic payout while retaining the overall anti-establishment rhetoric. 

Loot had a spirited cast of varying talent/experience levels who were professional and committed. The fast-paced, punchy style of the dialogue contained waves of poignant jokes yet lulls of tongue-tying lines that tripped the actors trying to keep the tide. Director Stephen Jarrett remained faithful to the script, so some dated British humor and on-the-nose comedic exposition coated the otherwise witty and funny performance. The lines also included a dated, offensive term that was unintentionally jarring for modern audiences. 

The pacing was further affected by clunky prop work that should have been ironed out during their run-throughs: McLeavy’s pause between setting down a flower wreath and unfolding the newspaper was particularly halting, and the cast having to find the right angle for placing the coffin back on the stands was deeply distracting. But work with the “sewing dummy” corpse was the most effective physical bit, with each actor being able to throw it around in a darkly funny disservice to the dead. The fight scenes were also a surprising strength, as David Bryan Jackson’s (Truscott) brutality is emphasized by the flexibility and flurry of Max Jackson (Hal).

The second act picked up right where the first left off, yet with better bits and pacing. Either the play itself found its voice here, or the actors got out their opening-night jitters. One felt the culmination of everyone’s motivations coming in and saw which side was really coming out the victor: debauchery and corruption.

Max Jackson’s accent and acting were the most consistent and impactful. His personality was certainly styled after an Oscar Wilde lead: mischievous, shameless, and proudly flawed. Hal as a character was also the most intriguing. He had aptitudes in thievery and scheming, but his inability to lie created a complex morality that Jackson certainly had fun with.

Truscott was cartoonishly villainous and unabashed. David Bryan Jackson’s suspicious eyes and gritted smiles really sold his nefarious nature, and she really committed to the bits. Jackson, a veteran of the DC theater scene, also composed the sound design and original music for the show, both of which were immersive. 

The character of McLeavy was simplistic and purposely hard to root for: outside of incensed monologues delivered straight to the audience, his aloof convictions in his beliefs blinded him to all of the wrongdoing of the people around him and made him easy to steamroll. Jesse Terrill’s strength was in McLeavy’s fall, as his desperate wailing and crying were jarring and effective at conjuring pity.    

Terrill’s pairing with Sabrina Lynne Sawyer as Fay was well-balanced. Sawyer had a great suspicious, flippant energy, but needed to play up her deliberately deceitful side so that it wasn't a complete shock how far she was willing to go to get what she wanted. She was convincing in her innocent act, folding her hands to feign piety and speaking with the emphasis of a 1940s movie star. 

Max Johnson as Dennis was a great mischief maker and had an impressive presence. However, he was tasked with prop work that was central to a bit, yet easy to miss: To unwrap, chew gum, and stick it to the coffin while not talking needed bigger action to make it a notable character trait and get the payoff of using gum as glue for the busted coffin several scenes later. 

Loot by the Edge of the Universe Theater Company was a good-faith rendition of a play about the hijinx of a bad batch. It’s a fascinating choice that mirrors societal critiques of contemporary America, yet it's bathed in British culture and references. It’s a fun, contrarian romp once you catch up to its intentions. The show is running through June 28th at Gunston Theater Two. 

Duration: 2 hours, including a 15-minute intermission

Photo credit: Chris Ferenzi