Joe Orton Meets The Beatles: The Night Rock Royalty Came to Belgravia
The controversial playwright shared a notable evening with the Beatles' Paul McCartney and a number of other 60s pop icons at Brian Epstein's house.

Number 24 Chapel Street sits on a quiet Belgravia corner, all elegant white stucco and understated wealth. The sort of address where nothing scandalous could possibly happen. Except on the evening of 24 January 1967, when Britain’s most transgressive playwright sat down to dinner with the world’s biggest pop stars.
Joe Orton arrived at Brian Epstein‘s house just before eight o’clock, having walked around the neighbourhood to avoid appearing too eager. He rang the bell. An old man answered, seeming surprised to see him. Orton asked if this was Brian Epstein’s house. “Yes, sir,” the man replied. Only then did Orton realise he was speaking to a butler. He’d never seen one before.
What followed was one of the most unlikely meetings in pop culture history: the playwright whose dark comedies savaged British respectability sharing marijuana stories with Paul McCartney, discussing film scripts with The Beatles, and eyeing up members of The Easybeats whilst an elderly retainer bustled about in the corner.
Orton recorded every detail in his diary that night. The account reveals a world where high art met pop culture, where theatrical transgression rubbed shoulders with rock and roll rebellion, and where everyone was slightly performing for everyone else.
The Empty House
After the butler took his coat, Orton went to the lavatory. When he emerged, nobody was about. He wandered into a large dining room laid for dinner. The house appeared to be empty.
Feeling increasingly strange, he went upstairs to the first floor. He could hear music but couldn’t decide where it was coming from. So he climbed another flight of stairs and found himself in a bedroom. He came back down and located the butler again.
This time, the old man led him to the right room and announced in a loud voice: “Mr Orton!”
Everybody looked up and stood. Orton was introduced to one or two people. And Paul McCartney.
Meeting a Beatle
In Orton’s mind, McCartney was exactly as he appeared in photographs, though he’d grown a moustache and his hair was shorter. He was playing the latest Beatles recording: “Penny Lane.” Orton liked it very much. Then McCartney played the other side, “Strawberry something.” Orton didn’t like that as much.
They talked intermittently about the reason for the meeting: a film script Orton was writing for The Beatles. Before dinner, they’d agreed to abandon the idea of setting the film in the 1930s. The project, eventually titled Up Against It, would go through various iterations but never make it to production. The Beatles would ultimately reject Orton’s screenplay, perhaps finding his particular brand of anarchic satire too uncomfortable even for rock and roll’s most celebrated rebels.

Dinner with the Crusted Old Retainer
They went down to dinner. The butler, whom Orton described as “the crusted old retainer – looking too much like a butler to be good casting,” busied himself in the corner.
McCartney and Orton talked whilst they ate. “The only thing I get from the theatre,” McCartney said through a mouthful of dinner, “is a sore arse.” But then he mentioned that Loot, Orton’s dark comedy about robbery and funeral homes, was the only play he hadn’t wanted to leave before the end.
They talked about theatre. Orton said that compared with the pop scene, the theatre was square. “The theatre started going downhill when Queen Victoria knighted Henry Irving,” he declared. “Too fucking respectable.”
The conversation moved to drugs. They discussed mushrooms that give hallucinations, like LSD. “The drug not the money,” Orton clarified. They talked about tattoos. And then, after one or two veiled references, marijuana. Orton mentioned he’d smoked it in Morocco. The atmosphere relaxed a little.
This was the cultural moment in miniature: the establishment playwright and the Beatle, both pushing against British respectability from different directions, finding common ground in their rejection of the stuffiness that had defined their parents’ generation.
The Easybeats Arrive
Dinner ended and they went upstairs. They watched a television programme that used phrases like “the in-crowd” and “swinging London.” Then came a little scratching at the door.
Orton thought it was the old retainer. Instead, someone opened the door and about five very young and pretty boys trooped in. “I rather hoped this was the evening’s entertainments,” Orton wrote in his diary. “It wasn’t, though.”
It was The Easybeats, an Australian pop group Orton had seen on television. He’d liked them then. “In a way they were better (or prettier) offstage than on,” he noted.
After a while, McCartney suggested they go upstairs. So he and Orton and Peter Brown, Epstein’s personal assistant, went to another room also fitted with a television.

The French Photographer
A French photographer arrived with two beautiful youths and a girl. He’d taken a new set of photographs of The Beatles and wanted to select one for the record sleeve. Orton thought the photographs were excellent. “The four Beatles look different with their moustaches,” he observed. “Like anarchists in the early years of the century.”
The comparison was apt. The Beatles were entering their experimental phase, growing facial hair, taking LSD, recording Sgt. Pepper’s Lonely Hearts Club Band. The clean-cut boys who’d appeared on The Ed Sullivan Show three years earlier had evolved into something more interesting and dangerous.
After a while they went downstairs. The Easybeats were still there. The girl had gone. Orton talked to Stevie Wright, the leading Easybeat, “feeling slightly like an Edwardian masher with a Gaiety Girl.” A masher, in Victorian slang, was a stage-door johnny who haunted theatres hoping to meet actresses. A Gaiety Girl was a chorus dancer from the 1890s Gaiety Theatre burlesques. Orton was positioning himself in a long tradition of theatrical predation, though his diary doesn’t record whether Wright noticed or cared.
The Business of Bread
Orton came over tired and decided to go home. He had a last word with McCartney.
“Well,” Orton said, “I’d like to do the film. There’s only one thing we’ve got to fix up.”
“You mean the bread?” McCartney asked.
“Yes.”
They smiled and parted. Orton got a cab home. It was pissing down with rain.
The screenplay Orton eventually delivered was too much even for The Beatles. Up Against It featured transgender characters, political satire, sexual anarchism, and the kind of casual blasphemy that defined Orton’s theatrical work. The Beatles passed. The script was later offered to other groups but never produced during Orton’s lifetime.
Two Worlds Colliding
What’s striking about Orton’s diary entry is how much everyone was performing. McCartney playing the new Beatles single, making sure Orton knew they were pushing boundaries. The French photographer arriving with beautiful youths, staging the evening as carefully as any theatrical production. The Easybeats trooping in like a chorus line. Even the elderly butler seemed to be playing a role from a period drama.
And Orton himself, the working-class boy from Leicester who’d reinvented himself as a transgressive playwright, now sitting in a Belgravia mansion with pop royalty, trading drug stories and discussing film deals whilst maintaining his carefully constructed persona of anarchic sophistication.
Both Orton and The Beatles were engaged in similar projects: taking working-class backgrounds and turning them into cultural revolution. The Beatles through music, Orton through theatre. Both were shocking the establishment, though Orton’s methods were darker and more explicitly sexual. The Beatles sang about holding hands and strawberry fields. Orton wrote about corpses in wardrobes and sexual betrayal.
The meeting at Chapel Street represented a brief moment when these two strands of 1960s rebellion intersected. Then they diverged again. The Beatles went on to global superstardom. Orton went back to his flat on Noel Road, where six months later Kenneth Halliwell would murder him with a hammer.

Brian Epstein’s House
Number 24 Chapel Street was Brian Epstein‘s London residence from 1964 until his death in August 1967. Epstein managed The Beatles from 1961 up until then, guiding them from Liverpool club performances to global phenomenon.
The house represented Epstein’s arrival in the establishment he’d helped The Beatles escape. Belgravia, with its white stucco terraces and discreet wealth, was as far from Liverpool’s Cavern Club as you could get. The elderly butler, the formal dining room, the whole performance of respectability whilst discussing marijuana and LSD represented the contradiction at the heart of 1960s counterculture: rebels who’d become wealthy enough to employ servants.
Orton noticed this immediately. His descriptions of the “crusted old retainer” and his observation that the butler looked “too much like a butler to be good casting” reveal his theatrical eye for the absurdity of the situation. Here were the most famous rebels in popular music, living in a Belgravia mansion with staff, performing their rejection of respectability in surroundings that screamed establishment approval.
The Script That Never Was
Up Against It remains one of the great lost opportunities of 1960s culture. Orton’s screenplay would have combined The Beatles’ popularity with his own savage wit, creating something genuinely transgressive. But perhaps that was why it never happened. The Beatles’ rebellion had boundaries. Orton’s didn’t.
The film would have featured themes too controversial even for “swinging London”: explicit sexuality, gender confusion, political satire that went beyond gentle mockery. The Beatles were pushing boundaries, but within limits their audience could accept. Orton specialised in crossing lines that made people genuinely uncomfortable.
The abandoned screenplay wasn’t produced until 1998, more than thirty years after Orton’s death, and then only as a stage reading rather than the intended film. The original manuscript is held in the Orton Collection at the University of Leicester.
24 Chapel Street Today
The elegant white stucco building on the corner of Chapel Street and Groom Place still stands, looking much as it did in 1967. It’s still unmistakably Belgravia: the epitome of quiet, discreet wealth.
Brian Epstein’s death here, seven months after hosting Orton, occurred in the same month that Orton himself was murdered. The 1960s revolution both men had helped create was already fragmenting, though the decade would stagger on for two more years before collapsing entirely into the cynicism of the 1970s.
But for one evening in January 1967, everything still seemed possible. The playwright and the Beatle, discussing films and drugs and the squareness of the theatre, whilst an elderly butler served dinner and Australian pop stars lounged about hoping to be noticed. It was absurdly brilliant, and utterly of its moment.
Orton captured it perfectly in his diary. The awkward arrival, the empty house, the casual name-dropping, the veiled drug references, the pretty boys trooping in, the discussion of “bread,” the rain on the way home. All of it staged, performed, recorded for posterity by a writer who understood that in 1960s London, everyone was always performing.
Explore Joe Orton’s London with Cobble
Experience the Islington and Belgravia that shaped Joe Orton (his flat on Noel Road, the library where the vandalism began, the streets where his extraordinary story unfolded) with Cobble‘s Joe Orton Collection. Download the app and let the story come to life as you move through the city, with GPS-triggered audio bringing the people and places back to life.
On the Cobbles
Cobble Scene Location: 24 Chapel Street, Belgravia, London SW1X 8DJ
Nearest Tube Stations: Hyde Park Corner (Piccadilly line), Knightsbridge (Piccadilly line), Sloane Square (District and Circle lines)
Viewing: Private residence, exterior viewing only
Nearby Belgravia Attractions: Belgrave Square, Eaton Square, Saatchi Gallery, Royal Hospital Chelsea
Cobble’s Joe Orton Collection was researched using the Orton Collection at the University of Leicester and developed in partnership with the Young Vic Theatre. Explore Orton’s encounters with 1960s cultural icons and his journey from library vandal to celebrated playwright with Cobble’s GPS-triggered audio walks and scenes throughout London.




