Noel Coward Collected Plays: THREE: 3

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Rosemary Harris / Marin Mazzie / Terrence McNally / Sonny Tilders and Creature Technology Company / Jason Michael Webb / Harold Wheeler (2019) From the age of 14, he had some sort of relationship with 36-year-old artist, Philip Streatfeild – possibly sexual – before Streatfeild died of trench fever in World War One. Coward's other close friend, John Ekins, also died in the war. In 1918, at the age of 18, Coward had a nervous breakdown in an army training camp before seeing any action, and was hospitalised for six weeks.

Coward maintained close friendships with many women, including the actress and author Esmé Wynne-Tyson, his first collaborator and constant correspondent; Gladys Calthrop, who designed sets and costumes for many of his works; his secretary and close confidante Lorn Loraine; the actresses Gertrude Lawrence, Joyce Carey and Judy Campbell; and "his loyal and lifelong amitié amoureuse", Marlene Dietrich. [137] Love film and TV? Join BBC Culture Film and TV Club on Facebook, a community for cinephiles all over the world. When World War Two began, the deeply patriotic Coward attempted to atone for missing the first one – bothering everyone, up to and including Churchill, for a job. He ended up with several: spying for an underground new secret service, running a propaganda department in France, attempting to stealthily influence important Americans to support Britain and enter the war, even holding meetings in President Roosevelt's bedroom.By the end of the 1960s, Coward developed arteriosclerosis and, during the run of Suite in Three Keys, he struggled with bouts of memory loss. [113] This also affected his work in The Italian Job, and he retired from acting immediately afterwards. [114] Coward was knighted in 1970, [115] and was elected a fellow of the Royal Society of Literature. [116] He received a Tony Award for lifetime achievement in 1970. [117] In 1972, he was awarded an honorary Doctor of Letters degree by the University of Sussex. [118] Other examples of "Dad's Renaissance" included a 1968 Off-Broadway production of Private Lives at the Theatre de Lys starring Elaine Stritch, Lee Bowman and Betsy von Furstenberg, and directed by Charles Nelson Reilly. Despite this impressive cast, Coward's popularity had risen so high that the theatre poster for the production used an Al Hirschfeld caricature of Coward ( pictured above) [n 9] instead of an image of the production or its stars. The illustration captures how Coward's image had changed by the 1960s: he was no longer seen as the smooth 1930s sophisticate, but as the doyen of the theatre. As The New Statesman wrote in 1964, "Who would have thought the landmarks of the Sixties would include the emergence of Noël Coward as the grand old man of British drama? There he was one morning, flipping verbal tiddlywinks with reporters about "Dad's Renaissance"; the next he was ... beside Forster, T. S. Eliot and the OMs, demonstrably the greatest living English playwright." [112] Time wrote that "in the 60s... his best work, with its inspired inconsequentiality, seemed to exert not only a period charm but charm, period." [1] Death and honours [ edit ] The Noël Coward Theatre The title of the play is taken from Shelley's poem " To a Skylark", ("Hail to thee, blithe Spirit! / Bird thou never wert"). [2] For some time before 1941 Coward had been thinking of a comedy about ghosts. His first thoughts centred on an old house in Paris, haunted by spectres from different centuries, with the comedy arising from their conflicting attitudes, but he could not get the plot to work in his mind. [3] He knew that in wartime Britain, with death a constant presence, there would be some objection to a comedy about ghosts, [4] but his firm view was that as the story would be thoroughly heartless, "you can't sympathise with any of them. If there was a heart it would be a sad story." [3]

It may have been his greatest role – all that mask wearing proving excellent practice for going undercover. The fact that no-one took him seriously was his "best qualification for being a spy," says Soden. But Coward was, arguably, too convincing: the press disparaged him for apparently jollying about in America while everyone else suffered, while his international playboy status was frequently seen as a liability by politicians. Both reactions deeply hurt Coward; war service was one area of life where he desperately wanted to be taken seriously. Alexander Woolcott wrote, "Laura Hope Crews was permitted to give one of the most disastrous performances I have ever seen in all my life". [17]Hoare, Philip (1995). Noël Coward, A Biography. London: Sinclair-Stevenson. ISBN 978-1-4081-0675-4. While the play continued its London run several tours were organised. A company under the management of Ronald Squire began a British tour in February 1942. The cast included Squire (Charles), Browne (Ruth), Ursula Jeans (Elvira), and Agnes Lauchlan (Madame Arcati). A company headed by Coward presented the piece along with Present Laughter and This Happy Breed under the collective title of Play Parade, in a 25-week tour from September 1942. Coward played Charles; Joyce Carey, Ruth; Judy Campbell, Elvira; and Beryl Measor, Madame Arcati. Another tour went out in 1943, headed by John Wentworth as Charles and Mona Washbourne as Madame Arcati. [16] Alan Bennett, Peter Cook, Jonathan Miller and Dudley Moore / Irving Berlin / W. McNeil Lowry (1963) When the piece had its first West End revival in 1970 the play was warmly though not rapturously praised by the critics, [49] [50] but by the time of the next major production, in 1976, Irving Wardle of The Times considered, "Stylistically, it is Coward's masterpiece: his most complete success in imposing his own view of things on the brute facts of existence," [51] and Michael Billington of The Guardian wrote of Coward's influence on Harold Pinter. [18] Coward's partner, Graham Payn, commented to Peter Hall that Coward would have loved the production (directed by Pinter) "because at last the play was centred on the marriage between Charles and Ruth; Elvira and ... Madame Arcati were incidentals". [52] [n 7] After the Broadway revival in 1987 Newsweek commented that the play reminds us that Coward was the precursor of playwrights like Pinter and Joe Orton. [54]

Coward completed the playscript for This Happy Breed (as well as that for Present Laughter) in 1939, in the months before World War II. The producer Binkie Beaumont originally wanted to stage Present Laughter on its own, but Coward insisted that, given the political situation at the time, it should be played alternately with the more sombre This Happy Breed. The original script called for the abdication speech of King Edward VIII to be heard on the radio by the Gibbons family in Act 3 scene 1, but the Lord Chamberlain (Britain's official play censor until 1968) objected to its inclusion, citing the embarrassment it would cause any member of the royal family who happened to see the play. The final dress rehearsal was held on 31 August 1939. The following day Germany invaded Poland; Britain declared war on Germany on 3 September, and the production was immediately abandoned. [3]After his London office and flat had been destroyed in the Blitz, Coward took a short holiday with the actress Joyce Carey at Portmeirion on the coast of Snowdonia in Wales. She was writing a play about Keats, and he was still thinking about his ghostly light comedy. He later recounted: Historic England, "Goldenhurst Manor (1071221)", National Heritage List for England , accessed 24 August 2016 The play's original production opened in London in 1925 and ran for 337 performances. Coward wrote the piece with Tempest in mind for the central role of Judith. In later productions the part has been played by actresses including Constance Collier, Edith Evans, Constance Cummings, Rosemary Harris, Judi Dench, Geraldine McEwan and Felicity Kendal. Hay Fever has been continually revived in Britain, the US and elsewhere, and has been adapted frequently for radio and television. Coward, Noël (1998). Barry Day (ed.). Coward: The Complete Lyrics. London: Methuen. ISBN 978-0-413-73230-9. Tynan's was the first generation of critics to realise that Coward's plays might enjoy more than ephemeral success. In the 1930s, Cyril Connolly wrote that they were "written in the most topical and perishable way imaginable, the cream in them turns sour overnight". [189] What seemed daring in the 1920s and 1930s came to seem old-fashioned in the 1950s, and Coward never repeated the success of his pre-war plays. [45] By the 1960s, critics began to note that underneath the witty dialogue and the Art Deco glamour of the inter-war years, Coward's best plays also dealt with recognisable people and familiar relationships, with an emotional depth and pathos that had been often overlooked. [190] By the time of his death, The Times was writing of him, "None of the great figures of the English theatre has been more versatile than he", and the paper ranked his plays in "the classical tradition of Congreve, Sheridan, Wilde and Shaw". [50] In late 1999 The Stage ran what it called a "millennium poll" of its readers to name the people from the world of theatre, variety, broadcasting or film who have most influenced the arts and entertainment in Britain: Shakespeare came first, followed by Coward in second place. [191]

Coward, Noël (2004) [1932]. Present Indicative – Autobiography to 1931. London: Methuen. ISBN 978-0-413-77413-2. Coward, Noël (1994). Plays, Six. Sheridan Morley (introduction). London: Methuen. ISBN 978-0-413-73410-5. The action is set in the Hall of David Bliss's house at Cookham, Berkshire, by the River Thames. [19] Act I [ edit ] A Saturday afternoon in June Judith Bliss ( Marie Tempest) strikes a pose, 1925 Both these productions delivered the delicious waspishness we expect of Coward's depictions of high-society partying and moral flippancy – but they also brought out the terror that there might be nothing beyond all that. The fear that love might be impossible and life pointless lurks in many of Coward's plays, and indeed throughout his own life.Noel Coward's Hay Fever, The Argus, 9 February 1931, p. 13; and "Hay Fever at Tivoli", The Argus, p. 10 The older members of the family discuss a letter they have received from Queenie in France. They are interrupted by the news that Reg and his wife have been killed in a road accident. I went to Iolanthe... beautifully done and the music lovely but dated. It's no use, I hate Gilbert and Sullivan". [184] A West End production, directed by Michael Blakemore, opened at the Gielgud Theatre in March 2014, with Charles Edwards as Charles, Janie Dee as Ruth, Jemima Rooper as Elvira and Angela Lansbury as Madame Arcati, and Jones as Dr Bradman as in Blakemore's 2009 Broadway production. It ran until June. [23] During the 1950s and 1960s Coward continued to write musicals and plays. After the Ball, his 1953 adaptation of Lady Windermere's Fan, was the last musical he premiered in the West End; his last two musicals were first produced on Broadway. Sail Away (1961), set on a luxury cruise liner, was Coward's most successful post-war musical, with productions in America, Britain and Australia. [96] The Girl Who Came to Supper, a musical adaptation of The Sleeping Prince (1963), ran for only three months. [97] He directed the successful 1964 Broadway musical adaptation of Blithe Spirit, called High Spirits. Coward's late plays include a farce, Look After Lulu! (1959), and a tragi-comic study of old age, Waiting in the Wings (1960), both of which were successful despite "critical disdain". [98] Coward argued that the primary purpose of a play was to entertain, and he made no attempt at modernism, which he felt was boring to the audience although fascinating to the critics. His comic novel, Pomp and Circumstance (1960), about life in a tropical British colony, met with more critical success. [99] [n 8]