02 Jul 2024
Deborah Heath is back at the Roman Theatre Festival for a new version of the Noel Coward classic…
Last week, I was lucky enough to catch Changeling Theatre’s production of Noel Coward’s ‘Present Laughter’. Although only gracing our own stage for one performance they are touring this and ‘Henry V’ around the UK this year.
As a devoted fan of Noel Coward’s work, I am delighted to see so many productions popping up to celebrate the 125th anniversary of his birth. I was particularly excited by
this offering from Changeling Theatre because ‘Present Laughter’ is probably Coward’s most farcical, hilarious and autobiographical piece.
To give some context, Coward wrote ‘Present Laughter’ in 1939 but the outbreak of WWII halted its production for a number of years. The play features recognisable characters from his own entourage and situations from his own life.
For while we might roar with laughter at the comic clashes when work and social life collide, the play carries food for thought – what is fame and what is its cost? Did Coward himself ever regret his position as one of the first celebrities?
It certainly would have been difficult for him as a homosexual because the laws and values of the time prevented him from going public. This means there is plenty of subtext in the sexual undertone of the play.
So what makes Changeling’s interpretation of ‘Present Laughter’ stand out? Well firstly, it is Alice McNicholas’ fabulous design and the impact it has on the audience’s journey.
Immediately on entering the auditorium we are faced with their unique trendy and colourful style. The stage, not bedecked with art deco pieces as you might expect is simple, bold and bright with statement pieces of multi-functional furniture.
The unifying theme is style whether that be the mixed period telephones (we counted about 12 in total), pink and green upholstery tones seen in our trendier eateries today and the costumes which were a mixture of classic and modern, all eye-catching and colourful.
We could be sure from the outset, indeed before the actors entered, that this is a company with a sense of fun who respect the original script and intended to draw parallels between the period in which it was written and the present day.
For example, all those telephones highlighted the point that Garry was never left in peace and that we too are always distracted by communications in our modern world where work and personal life are blended.
With this in mind, to open with a bold full-cast dance number to ‘Fame’ by David Bowie was a masterstroke. It immediately established our hero Garry as a modern day icon and gave context to his world.
For Garry is simply trying to prepare for a forthcoming theatre tour of Africa but people keep getting in his way, whether this be his efficient secretary Monica, an admiring playwright Roland Moule or groupie Daphne Stillington.
Due to his magnetic personality we can’t help pitying Garry despite recognising he is in a situation of his own making – he is an interesting creation. “I belong to the public!” Of course Noel Coward was in fact his own creation having started out as an East End child performer and fought his way to being noticed by becoming the stylised figure we know him as today. This means that ‘Present Laughter’ also explores the idea that an actor is always acting.
So what of the acting? Well, just like the design it is confident and dynamic with he cast establishing their skill as actors, dancers and improvisers. I particularly liked the moment when Garry, played by George Naylor in a performance than never lacked energy, asked for a biscuit from the audience.
When the packet opened and the contents crumbled both over the stage and on fellow actor Guy van Onselen (giving a very funny performance as Roland Moule) they both responded with quick wittedness.
Garry is a really demanding role and George mastered the contradictions in his character, the stamina, the lines and perfect delivery with power.
The fact that I do not mention every actor by name is not a reflection on their brilliance and more about my word limit. However, I must acknowledge Lily Carr who played long suffering Monica with firmness and a wry sarcastic tone which can be hard to master. Lily struck exactly the right balance of professionalism and fondness in her tone. I was extremely impressed that despite it being an outdoor show, all the performers appeared to manage without head mics, relying simply on their vocal training!
Only one thing didn’t work for me in this production and that was the decision to form
two characters into complete stereotypes – Miss Erkison the housekeeper and Lady Saltburn. The actors playing them, Rose Taylor-Ritson and once again Lily Carr proved themselves to be extremely versatile and talented in other roles and I felt disappointed that they were not allowed to bring a bit of subtly to these funny characters.
This did not sully my overall experience of this production however. Coward’s brilliantly funny script is given a new lease of life with director Rob Forknall’s unique stylistic approach which feels trendy, colourful, pacey and timeless.
This vibe really hammers home to us in the audience that even those who seek fame today (in whatever medium) might feel they have bitten off more than they can chew as work and home life collide. It will also cause the actors among us to consider whether we are ever truly ourselves. Excellent work Changeling – I will look out for more of your work in the future.
