A renowned psychiatrist, Dr. Prentice, played by Giampiero Ingrassia, tries to seduce his secretary. The psychiatrist's wife wants to hire the bellhop who attempted to rape her the night before in a hotel. A psychiatric inspector, Dr. Rance, played by Paolo Triestino, takes over the clinic. A naked secretary tries to retrieve her clothes and return home. A policeman searches for the missing parts of a statue of Winston Churchill. A hotel bellhop is willing to indulge any sexual appetite as long as he's paid. The rollercoaster of misunderstandings begins in the most classic way: when the wife catches her husband undressing the aspiring secretary and hiding her behind the screen in his office. From here, a fast-paced spectacle builds to a disconcerting and absurd "All's Well That Ends Well" finale. In What the Butler Saw, Orton revisits recurring themes of fin-de-siècle British drama (fear, alienation, homosexuality, violence, power) with a distinctive style that finds remarkable expressive power in paradoxical and witty dialogue, so reminiscent of the Theatre of the Absurd, supported by a brilliant and frenetic construction of the action. The play unfolds entirely and in real time in a psychiatric office. Here, embarrassing situations, attempted seductions, mistaken identities, and assaults unfold in a frenetic race of arguments, hasty diagnoses, and hiding places in wards and infirmaries. Revolving at breakneck speed around the doctor, the protagonist, are a somewhat naive trainee secretary, his neurotic and nymphomaniac wife, a delirious and irreproachable health inspector, a young and clumsy hotel bellhop, and a policeman with dubious investigative skills. In "What the Butler Saw," the frenetic pace of the jokes and the obsession with plot recall the structure of French vaudeville. Orton delights in constructing a clockwork mechanism that shatters all certainties and overturns all logic, with great linguistic astuteness, while still creating characters who are always absolutely believable.