1964. The year of A Hard Day’s Night and Little Red Rooster, Mary Quant and Bobby Charlton. Harold Wilson became the first Labour Prime Minister since Clement Attlee. And 31-year-old Joe Orton (although he claimed he was 25 in the original programme) had his first stage play, Entertaining Mr Sloane, performed at the Arts Theatre in London. The Guardian called it “a milk-curdling essay in lower-middle-class nihilism” but owing to the support, both financial and moral, of none other than Sir Terence Rattigan, it transferred to Wyndhams’ and had a brief but artistically successful run, winning the London Critics’ Variety award for the best play of 1964.

This is a welcome and inspired choice for Nadia Fall’s first production in charge of the Young Vic. In case you don’t know: Kath lives with her father, Kemp, (the Dadda) and has a spare room which she is going to let out to Mr Sloane. He is 20, a loner; physically appealing in a dangerous way, and it only takes her twenty or so minutes to find a reason for her to remove his trousers. Her brother, Ed, appears influential and wealthy; he doesn’t trust any potential lodgers and intends to send him packing, until he too finds Sloane physically appealing and tries to find a way to get closer to him. Sloane seems inexperienced but knows precisely what both brother and sister are after and works to play the situation to his advantage. The Dadda, however, recognises Sloane as the murderer of his ex-employer. If things weren’t already dark enough, they quickly get darker.

Few creative artists make such a huge mark that they deserve their own adjective, but Ortonesque survives as the only concise way of capturing his particular brand of innovative, dangerous, surreal, sexually charged, axis-changing and rivetingly funny drama. Entertaining Mr Sloane is a classic subversion of a traditional drawing-room comedy; three acts, one location, pretentions to moderate wealth and social influence, it’s no wonder that his work is a natural crossover product of the likes of Coward and Rattigan with Pinter and Osborne.

When the text was sent to the Lord Chamberlain’s office for a licence, the only thing the censor picked up on was the overt sexual activity between Kath and Sloane; all the other undercurrents in the play simply went unnoticed. Seeing Entertaining Mr Sloane today, over sixty years since it first appeared, gives you a strangely nostalgic feel for the Swinging Sixties. You can almost taste how shocking some reactionaries would have found it, and how deliciously it would have appealed to the progressives.

What makes this play stand out though is Orton’s superlative writing skills. The words his characters speak are subtle and nuanced, and their meanings are indirect; his ear for conversational patterns is outstanding. He has that enviable ability to present an awkward, uncomfortable, potentially tragic situation and then instantly send it up so that you burst out laughing and then hate yourself for your insensitivity. No subject is ever out of bounds for Orton. Domestic violence, mistreatment of the elderly, rape and assaults; Kemp grumbles about the number of foreigners coming into the country, committing sexual assaults – some prejudices don’t change.

Peter McKintosh’s set is a work of art in itself. When you enter the auditorium a jumble of domestic items and furniture dangle suspended from the ceiling – chairs, a pram, an ironing board, an airer, and so on; and around the base, a clutter of junk and debris surround the circular stage. Orton points out that Kath and Kemp’s house is next door to rubbish tip, which gave the inspiration for the set. It’s a nice idea, but it’s really only a mention in passing, so it’s neither vital to the plot, nor does it get in the way. The decision to stage the play in the round – because, as confirmed in a programme note, it is a voyeuristic play – works well. There is no hiding place in Entertaining Mr Sloane and there is no hiding place on the set either.

Richard Howell’s lighting design allows for some ingenious effects; off-stage characters are highlighted as if frozen in time, slow-motion sequences are lit artificially to create an other worldliness, and there is a stunningly impactful, strobe-filled start to Act Two which sees Sloane transformed from subdued semi-formal clothing to leather joy boy (the uniform Ed has chosen for him), an effect that fully deserves its own round of applause from the audience. Nadia Fall has made a few other fascinating directorial choices, including an impressive tug-of-love/semi-BDSM final tableau as Kath and Ed rope up the powerless Sloane with telephone wires graphically to convey how successfully the arch manipulator Sloane has been out-manipulated by the brother and sister. I am always a sucker for effective stage combat and the scene where Sloane batters Kemp is fantastically convincing.

Tamzin Outhwaite gives a wonderfully entertaining performance as Kath, a repressed sex kitten in a pinny who moves into Sloane’s space as a surrogate Mummy, unhesitatingly taking the lead whilst protesting her respectability. Her performance is perhaps more geared towards the comedy of the situation than the darkness, with lovely moments with her false teeth, and terrific comic timing of Orton’s killer lines. Daniel Cerqueira’s Ed is a chain-smoking, snide wannabe-bully who allows himself to be distracted and influenced by Sloane, almost but never quite taking control of situations. His vocal delivery reminded me strongly of the comedian Micky Flanagan, which was slightly unsettling; but it’s a convincing portrayal of someone fighting to stay one step ahead.

Christopher Fairbank is excellent as Kemp, a delightfully grubby old man, who’s seen it all and isn’t fooled by anyone, but knows he has to behave if he wants to keep a roof over his head. And, in an outstanding stage debut, Jordan Stephens is superb as Sloane, stringing the siblings along with just the right level of innocence until he flashes into intense anger and violence.

The production does come across as a little ponderous at first, with Act One feeling a little static, with the characters slow to develop. Once the second Act kicks in, the pace builds, and the nastiness intensifies to reach its exciting and unusual conclusion. An excellent opportunity to see Orton’s first stage work – and to reflect on how he could potentially have carved out an immensely successful career had he lived.

Four They’re Jolly Good Fellows!