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Posts Tagged ‘Noel Coward’

London Pride

Thursday, June 2nd, 2011

If you wanted to define ‘Quintessentially British’, then sooner or later after you’d been through the usual suspects (Beefeaters, cups of tea, endless Jordan autobiographies) you’d soon come to Noel Coward. Famous for some of the wittiest plays ever written, including Private Lives, Blithe Spirit and Design For Living, he was also a fairly considerable singer-songwriter, responsible for such standards as Someday I’ll Find You, Mad Dogs and Englishmen and London Pride.

Yet perhaps because he’s seen as ‘old-fashioned’, his work isn’t performed nearly as often as it ought to be. Therefore, we should all welcome the return of the revue Cowardy Custard, which was first staged in 1972. Of course, portmanteau shows of this nature are quite common now, but this one is infinitely classier and more subtle than the norm, as well as much, much funnier, thanks to the performers, Dillie Keane from Fascinating Aida and the wonderfully witty piano-playing duo Kit and the Widow. It promises to be a stirring, hilarious and even moving romp through Coward’s enviable career.

Kit Hesketh, of Kit and the Widow, says: “The show is such a fantastic introduction to Coward because he was such a rich and varied songwriter and covered everything from heartbreak to really funny stuff. Coward was just brilliant and I don’t think there has been his equal before or since. It was not just a case of combining his talents as an actor and playwright, but he was also a composer, lyricist, spy, man about town and a brilliant diarist. People said that his was a typical upper class, right-wing, out-of-date Englishness, but in fact he was a lower-middle class boy from Teddington who kept his finger on the pulse – and that can be seen in songs like London pride which he wrote in the war. He knew how people felt.”

It’s nearly finished a hugely successful tour across England, but there’s a final chance for those living in London to see it, as it’s coming to the Richmond Theatre for a very brief appearance from June 2-4. So get your cravat out of the cupboard and head down (to what is, coincidentally, one of the country’s loveliest Frank Matcham theatres) for what promises to be a splendid, and highly civilised, evening’s entertainment.

The Green, Richmond, TW9. www.ambassadortickets.com/

A Design For Life

Monday, October 4th, 2010

Design For Living has always been one of Noel Coward’s most controversial plays, mainly because of its frank and very-ahead-of-its-time treatment of bisexuality. Originally staged in the US in 1932, it didn’t receive its first performance in the UK until 1939, and even then it was subject to numerous cuts and excisions by the all-powerful censor at the time, the Lord Chancellor’s office. It isn’t at all hard to see why: even today, in Anthony Page’s skilfully orchestrated and highly entertaining production, there’s a transgressive sexual frisson that runs through the play to electrifying effect.

It concerns, for want of a better expression, a ménage a trois. Gilda (Lisa Dillon, of Cranford fame) is first introduced living with the artist Otto (Tom Burke) in a bohemian Paris. In the midst of this domestic bliss, she is exposed in her come-down from a one-night stand with the playwright Leo (Andrew Scott, who many might recognise from his recent performance as Moriarty in Sherlock). This rather piquant revelation leads to all manner of (very funny) rows and recriminations, with Gilda’s long-standing art collector friend Ernest (Angus Wright) an astonished deliberator in the fracas that ensues. Over the course of the next two acts, the love triangle between the three starts to bend and fracture in all manner of interesting and unpredictable ways; as Otto remarks in Act II, its ‘a bad business. A VERY bad business’.

The cast are all superb, with the three protagonists simultaneously coming across as charming, debonair and utterly self-absorbed; so much so, in fact, that Ernest’s outraged dismissal of their immoral lives in the final act cannot help but ring somewhat true. There’s a lovely cameo from Maggie McCarthy as the permanently outraged housekeeper Mrs Hodge, and the drunk scene at the end of the second act must rank with one of the funniest things that Coward ever wrote. This represents yet another high-calibre production from the Old Vic, and comes highly recommended.

Until 27 Nov. www.oldvictheatre.com.

Private Lives

Thursday, March 11th, 2010

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Noel Coward’s 1930 comedy Private Lives is probably his best known and most popular play, a standby of repertory and amateur theatre. Part of this is the iconic plot, dealing with two glamorous divorcees, Amanda and Elyot, who accidentally re-encounter one another while on their honeymoons with their new partners. The precursor to so many subsequent romantic comedies that deal with a love/hate relationship, Coward’s play remains one of the very best because of the endlessly quotable dialogue (‘Very flat, Norfolk.’ ‘Some women should be struck regularly, like gongs’) and carefully constructed plotting that never allows the relationship between the protagonists to descend into farce.

Of course, if done badly, the play ends up as knockabout, silly buffoonery, and so it needs a really strong production to keep it compelling. Thankfully, Richard Eyre’s new staging is as clever and restrained as it needs to be. He’s helped immensely by strong lead performances by Matthew MacFadyen, unusually stern and forthright as Elyot, and Kim Cattrall, leaving Sex And The City’s Samantha behind to adopt a near-flawless upper-crust 30s accent and mannerisms as the charming, sexy but no less headstrong Amanda. There’s also excellent support from Simon Paisley Day as the very model of a repressed prig in Amanda’s new husband, Victor, a man so formal that he uses grand pianos to press his trousers, and Lisa Dillon as the twittery (in the proper sense of the word) new bride for Elyot, Sybil.

If this doesn’t quite rise to the heights of delirious hilarity that some Coward productions manage, there’s no doubt that this is a literate, consistently inventive and amusing revival of a great play that manages to say some compelling and relevant things about the perennial battle between the sexes in a timely and witty way. And it boasts the best on-stage use of brioche you’re likely to see this year.

Until 1st May. Vaudeville Theatre, The Strand, WC2. www.nimaxtheatres.com

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