Condemned as “vulgar” when it first opened in 1969, Joe Orton’s infamous black comedy What the Butler Saw charges head first into the Cambridge Arts Theatre this week. In an era where sex comedies, epitomised by such films as the Carry On franchise, were a mainstream source of entertainment, Orton sought to subvert the social and sexual norms they upheld by highlighting the abuse of power and hypocrisy by those in positions of authority. Now re-visited under the guise of this witty farcical comedy, produced by London Classic Theatre.

The set, designed by Bek Palmer, is reminiscent of MC Escher’s “Relativity” with stairs at odd angles and doors seemingly everywhere. It mixes the cold sterility of a psychiatrist’s office, with the abstract whimsy of a Monty-Python-esque animated still, creating a visually stunning setting for the show and reflecting the madness to come.

As with any farce, doors play a key role. Director Michael Cabot’s choreography uses the doors to their full effect. Pace, pace, pace! Characters appear and disappear with the precise timing required by Orton’s script. Not a second too early or late. Dialogue, too, is engaging throughout with the actors showcasing their impeccable comedic timing. My only critique of the choreography is that some of the fight scenes are a little sloppy, in contrast to the smooth entrances mentioned above.

The play opens with the psychiatrist Dr. Prentice (John Dorney) attempting to “seduce”, or in other words coerce, a young woman, Geraldine Barclay (Alana Jackson), while interviewing her for the position as his secretary. Dorney wonderfully portrays the doctor’s increasing desperation as the web of lies, one which he wove himself, winds around him as the situation gets more and more absurd. Jackson’s Miss Barclay does an admirable job navigating the twists and turns while in various states of undress, creating an endearing character that the audience sympathises with.

Another barely-clothed character is Nicholas Beckett, the page boy (Alex Cardall) with a penchant for touching women in the hotel he works at. Cardall is a fabulous physical actor, very enjoyable to watch as the charming young rogue. A quick mention to Michael Hugo as the gullible Sergeant Match. An entertaining physical actor, completing the strong cast and turning the mayhem up to 11.

The two hard-hitters of this production are Dr. Rance (Jack Lord) and Mrs Prentice (Holly Smith). Dr. Rance is a rival psychologist and government inspector, and a little bit too keen to diagnose madness without evidence. Lord’s portrayal plays hot potato between believably authoritative and relentlessly bonkers which is a delight to watch. An absolute masterclass of comedy acting. Smith’s Mrs Prentice brings a command and authority to the stage making her a formidable presence. Always entering at the right time (or wrong time if you’re Dr. Prentice), Smith has a strong comedic presence which she maintains throughout the show, including during the somewhat anticlimactic ending.

Orton’s speciality was to challenge the social norms of the time through his plays, and this, his final show, is no different. Orton uses humour to expose the hypocrisy of a society that regards sexual assault as repugnant while simultaneously not taking it seriously as a crime. While satirical commentary on sexual assault is highlighted in the show, as was Orton’s intention, physical depictions of attempted acts in this production are handled lightly and are, in my opinion, not distressing to watch.

The subject matter, and often outdated writing, may put some audience members off. However, What The Butler Saw is still a clever, chaotic farce with a lot of thought-provoking moments. The dedicated cast and crew do an excellent job honouring Orton’s subversive humour, ensuring a night of laughter for those who appreciate a traditional farce with a provocative twist.