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Home , Alan Ayckbourn, Binkie Beaumont, Christine Ebersole, Design for Living, Frances Cuka, Jayne Atkinson

Oct2010_Home Chat 04/10/2010 09:15 Page 1

THE NEWSLETTER OF THE NOËL COWARD SOCIETY OCTOBER 2010

President: HRH The Duke of Kent

Vice Presidents: Barry Day OBE • Tammy Grimes • Penelope Keith CBE

Graham Payn and Jack Wilson’s wife (Princess) Natasha Paley watch Noël Coward at Blue Harbour

Siân Phillips & Rodney Bewes in UK Coward Celebrations Paley Center and the Gershwin in New York

s Autumn’s dampness creeps through the air of the Waiting in the Wings UK and the Fall sends leaves to the pavement in the A US it is a welcome again to the annual celebrations of her life in the and meet NCS members. This will be Noël Coward’s birthday and the AGM of the Society. We followed by our Annual Lunch that will take place at The include a booking form for the range of events in the UK and Garrick Club where Siân will join us. the details of both events in the UK and the US. The actor Rodney Bewes has agreed to act as our Garrick Club Sponsor Member for the luncheon and will also join us. EVENTS IN THE US For those who have not been before, The Garrick is a We are pleased to inform you that on: wonderful setting for our annual lunch. The visit will include Saturday afternoon, December 11th at 2:00 PM, a a short tour of some of the rooms that contain works screening of a special program devoted to Noël Coward will depicting thespians from the past. Our guests include our take place at The Paley Center for Media in New York City. immediate Past-Chairman Barbara Longford . This will be followed by a reception to "meet and greet" All of this makes for an exciting day in ’s theatre your fellow Society members. The cost of this event is district. Start the day with coffee at the Noël Coward Theatre $5.00. and finish with the same beverage in the ultimate Actors’ On Sunday afternoon, December 12th at 1:30 PM at the club. Theatre Hall of Fame in the we will be The luncheon menu will be available in our December having our annual flower-laying ceremony at the statue of issue, being published early in mid-November so that Noël Coward. Special guests will help to celebrate members have all the documentation they need for the AGM. Coward's 111th birthday. Following the flower-laying ceremony we will be having SPECIAL OFFER FOR THIS our annual luncheon at the Manhattan Club at Rosie DEFINING RECORDING OF O'Grady's (52nd Street at 7th Avenue) at 2:30 PM. Luncheon NOËL COWARD’S will be followed by special entertainment. Mark your calendars now for these events! Complete details and CONVERSATION PIECE information will be sent to members in early November. Until then, should you have questions, please contact Ken BARGAIN PRICE OF £6.50 Starrett at [email protected] or at 212/877-4259. We look forwrad to having you join us. This price includes package and EVENTS IN THE UK postage to UK and abroad . In the UK the Annual General meeting will take place on To get your copy contact Stephen Greenman by email at: Saturday 18th December at the Noël Coward Theatre [email protected] or write to: (10.15 am for 10.45 am) moving to the Flower-Laying ceremony at the Theatre Royal, Drury Lane (11.45 am for Stephen Greenman, 64 Morant Street, London, E14 8EL, UK 12.00 noon) when the distinguished actress Siân Phillips will lay flowers on the statue of Sir Noël Coward, talk about

WHY NOT ASK A FRIEND TO JOIN THE NOËL COWARD SOCIETY? - see the back page for details... Oct2010_Home Chat 04/10/2010 09:16 Page 2

CONVERSATION PIECE

“conversation piece - n. an object that arouses comment by its novelty; a painting of a number of people in their usual pastimes, etc; a play in which the dialogue is as important as the action ”

o says Chambers dictionary; and one is tempted to think that the first of those definitions is the one that would Sseem best to apply to Coward’s Conversation Piece . But considering Conversation Piece merely as a “novelty” falls a long way short of doing justice to Coward’s achievement in this, possibly the least-known of all his musical scores. One is forced to admit that even for a dedicated Coward music enthusiast there is much composition in this score that is difficult to pin down as separately memorable numbers: goodish chunks of music including two Prologues and an Opening, ‘Brighton Parade’, ‘The Gardens’ (twice) and Louis Haywood, Noël Coward and Yvonne Printemps in the original London production of Conversation Piece portions of two Finales comprise scenes where the music is “merely” part of the atmosphere, a background (albeit as Piece has recently been addressed by NCS member Adrian important a background as the décor) to movement and Wright. Alert readers will recall an interview with him in our dialogue, which means that there is a strong element of ballet June 2010 issue at the time of the launch of his new book on music in this score, music as a stylistic mise-en-scène , at the the twentieth century British , ‘A Tanner’s expense (some might argue) of memorable songs with words. Worth of Tune’. (The book is available at www.amazon.com When we do get songs with words, they are all of and has a complete chapter on Coward’s various musical memorably high standard. ‘I’ll Follow My Secret Heart’, the shows.) More to the point here was Adrian’s record company’s principal waltz love-song number (whose miraculous (Must Close Saturday Records) 2007 reissue of the 1951 studio composition complete and from nowhere, late at night at recording of Conversation Piece starring Lily Pons, a young Goldenhurst after weeks of agonised searching for inspiration, and Noël Coward himself. and in an unfamiliar key, is a well-known story) was thought The CD comes with Adrian’s exceptionally informative and by Benny Green to be possibly “ the loveliest of all Coward’s educational sleeve notes, and all of what follows my byline is pieces, the perfect marriage of words and music … which taken verbatim from that source. As a resource for the Coward transcends its environment, its time and place, to become one enthusiast this could hardly be bettered. NCS has sometimes of the great standard songs of the modern era ”. Personally I made supportive investments in re-publishing projects of this prefer, as somehow musically more satisfying still, the second nature, and was pleased to be able to do so in this instance. of the score’s waltz love-songs, ‘Nevermore’. Neither of these The Society is now able to offer copies of the MCSR pieces is more than slight, the bare minimum of a 32-bar Conversation Piece CD, more or less at cost price, to our refrain after the usual (sometimes lengthy) preamble, but it’s membership. May I urge all readers who have stayed with me understandable that the less positive emotions of ‘Nevermore’ so far to take advantage of the offer? You will not be were never going to out-compete the more positive tone of the disappointed, one ought to be more familiar with the music of principal song. this enigmatic and neglected score, and such an opportunity There are other very worthwhile and memorable pieces in will probably not occur again! the score of Conversation Piece , including ‘Melanie’s Aria’ (‘Plus de Coeur Discret’) and two classic concerted Dominic Vlasto numbers, ‘There’s Always Something Fishy About the French’ and ‘Regency Rakes’, the latter of which has certainly suffered From Adrian Wright’s sleeve-notes for MCSR 3039 from having lyrics specific to a group and as such was never able to come through into a more general, solo performance Apart from its outstanding waltz song, Conversation Piece arena, like so much of Coward’s other great comedy material. is not one of Coward’s best scores; indeed, the very title of the (I once saw ‘Regency Rakes’ performed, as illustration of part play suggests this may be so; we are here to talk, as much as to of a historical narrative, by a quartette of schoolboys; they sing. It is of course rooted absolutely in that world of Bitter obviously adored the wit of the material and entered all too Sweet , the realm of Operetta (even if here and there are revue- convincingly into their rôles as debauched rakes, somehow like moments in the songs). [James] Agate was not the only making the life of a roué an instantly attractive career option!) critic to suggest that Coward had played the same trick twice, Enough of the obvious excuses for things being but it was a lesson that Coward was slow to learn. His next inadequately well-known. Fortunately for us, this lack of musical, Operette (1938), blatantly staked his claim to the knowledge and sensible critical comment on Conversation same old territory by its title… Page 2 Oct2010_Home Chat 04/10/2010 09:16 Page 3

The Brighton of Conversation Piece is, of course, Regency, performance, a female star or two and some set-piece stage and it may be that Conversation Piece allows us a glimpse over engineering), a success that outstripped anything Coward the garden wall at that pre-Victorian world of pimps, coquettes, achieved in musical theatre. Coward never again appeared in a mistresses and scheming parents, and guardians who were on full-length musical of his own writing, so it is especially interesting to have this record of the one musical role of his own invention that he encompassed… Coward’s little conversazione defies criticism; its lightness is merely typical of the pleasantries that passed away such occasions between the tittle-tattle and the tea-pouring. This is a title – Conversation Piece – that describes itself impeccably. At its best, as in the song that Melanie sings falteringly to practice her English grammar against the outside voices of children at play, Cowards seems truly inspired and the beauty is palpable. It is not only the French sounds that remind one here of Charlotte in Massenet’s Werther ; in fact, beyond this scene, notably in the great waltz song, Coward almost apes the lyrical phrasing of Massenet, although its swoops outdo anything the great old man of French opera could manage. Like Massenet, Coward eschews a chorus, but the general air of elegance is not always convincing; the milieu seems a bit “put on”. Coward ranks with Massenet, too, in his innate understanding of what will work theatrically: listen to the closing moments of each scene. And the scale of all is a perfection. If today the very icing on Coward’s confection appears ersatz, as its sophistication sometimes seems, Conversation dubious terms with their wards… Piece exists and succeeds principally and brilliantly as a A year after Conversation Piece , Ivor Novello wrote the vehicle for its leading lady, who may, like , book and music for Glamorous Night , a work that was to once have asked Coward “am I being French enough?” establish a template for the many Novello shows that followed. Happily, Mademoiselle Pons does not disappoint, and I trust One of its great attractions was that Novello played the non- Coward told her so at the end of the long recording day. As singing lead (just as had Coward in Conversation Piece ). Coward himself pungently remarks in this recording you are Novello won tremendous commercial (if not critical) success about to enjoy, “Ah! L’amour, l’amour!” with his formula (lavish productions, huge casts, his own star Adrian Wright

No Such Thing as Art E.H.Gombrich says, “There is no such thing as Art. There are only artists.” From this I conclude - what artists do, becomes their art rather than an abstract definition of “Art” defining what an artist should do. For those audiences who have filled on both sides of the Atlantic at a time of yet another media-declared ‘Coward Renaissance.’ (they seem to happen every year!) - the question may be - can the value of plays be judged by some preconceived definition of the term ‘Theatre’? Well, not if we credit two current productions with the worth they undoubtedly possess. Emma Rice’s take on the top ten entry of favourite , Brief Encounter, breaks new ground for both ‘theatre’ and ‘Coward.’ According to , Alan Brodie spoke thus of Emma’s desire to redefine the 1945 classic: “ She was very passionate about what she wanted to do and talked a lot about Noël Coward and keeping it in the spirit of Coward, so we decided to take the risk. Also, we wanted to reach younger audiences, which it has. Wherever it has played in the U.K. and the U.S., the audiences have been much younger than you will often find for Coward plays. Another thing we did was open up the catalogue to her on the understanding that everything in the piece would be Noël Coward-written — the songs, the poems, he wrote everything. Emma just rearranged the material. ” The result has been an outstanding success retaining the tense emotional core of Coward’s original play Still Life and the adaptation, while adding a timeless context with its deep sea and tidal metaphor and the humour, wit and musicality of Coward’s performing persona - add the bawdiness previously only hinted at in the subsidiary characters and the dramatic experience is complete. The fact that the show brings together elements of both cinema and theatre in such a seamless and thoughtful way only adds to the success of this entirely new take on a Coward classic. Anthony Page at has revived a rarely-performed Coward comedy. When its original production was planned Coward tried bravely to keep its androgynous context from the prying eyes of the censor, but in the end had to give up and premiered the play – Design for Living , the promised play for the Lunts and himself, ‘the play I shall write for us when we are famous’ - in 1933 at the Hanna Theatre, Cleveland, Ohio, later moving to the Ethel Barrymore Theatre in New York. It did not reach the UK until 6 years later. The play is of course about developing a fearless freedom to enjoy relationships that lie outside the social norm - relationships that hurt no one but seem to threaten every one. Its context is social attitudes, the apparant growth of freedom provided by wealth and success, the infinite variety of love and, in passing, the nature of celebrity and fame. In this reincarnation Coward’s work is given a fresh sensual edge that liberates both the text, action and comedy - the human comedy that Coward does best when he pokes fun at all of us, our attitudes and our insecurities. Great theatre and great art! Editor

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Two reviews of this historic DESIGN FOR LIVING production from NCS members

ixed reviews are the bane of theatre publicists who acclaimed premiére at the Ethel Barrymore Theater on prefer a straight row of four and five star symbols to Broadway in 1933 when as Otto was 41, his wife M sell a show to the public. But ‘mixed’ is a quite as Gilda was 46 (although she would only inadequate word to describe the unusual press reception given admit to 36) while Coward in the role of Leo, a commercially to Anthony Page’s provocative revival of Coward’s Design for successful playwright, was pushing 34. Living (1933), the first on the London stage in over 15 years. In the case of Leo, relentlessly played for laughs by The polarised divisions almost cast and with doubt on the judgement of critics. excessive hand and arm Charlie Spencer in the Telegraph waving, plus a somewhat and Quentin Letts in the Mail shrill delivery, it was delivered spectacular dismissals for a hard to imagine tough show they found was “a long and Broadway producers largely unrewarding slog” or even backing their commercial worse; while among most other judgement with mega- critics Christopher Hart found it “the dollars for someone so superbly stylish revival the play juvenile in his approach deserves,” awarding it five stars in to life. But I have to . admit that as played his Who to believe? Minutes after the performance is a great curtain went down on the Saturday crowd pleaser. matinée event (organised by Stephen Any cavils about Tom Greenman for NCS London Burke as a floppy haired members) I shared a quick evaluation Otto simply disappear, with fellow member Peter Kent and given his hugely we found ourselves readily agreeing sophisticated approach to that the performance was a thoroughly enjoyable occasion with the role. Likewise Lisa Dillon’s Gilda is not only a knockout just a few minor reservations about casting and its act one blonde with a devastatingly lovely figure but also a mature period style, set in a Parisian atelier. performer, an actress who Inventive richness in performance was equally appealing and interpretation made the earlier this year as the ‘inordinate length’ that had annoyed pretty, pert Sybil in the even the most indulgent of critics on West End revival of press night (all too aware of their , here deadlines) a matter of no importance. wearing her character, her The show was a delight, notably a gorgeous frocks and retro superbly staged London drunk scene lingerie with dazzling in act two; while the third act New assurance throughout the York setting by Lez Brotherston performance. illuminated the performance with its Indeed as my Stage dazzling touches of 1930s decorative colleague Mark Shenton art, while the sexual passions that recently revealed in his animated the central ménage`a trois , widely read blog: “I were not only wholly believable but know [that as critics] played with insouciant joy and we’re not supposed to commitment. collude but following the Oddly enough a spontaneous first interval of Design round of for the lavish, high- for Living , I was style New York design almost failed bemoaning my lack of to materialise at this matinée sexual attraction to either performance, until someone near the front clapped hands and of the male leads.” Lo and behold, Libby Purves in her Times the entire audience followed suit, agreeably astonished by a review says: “To get this one right, you need three irresistible setting that would later remind us of the material sacrifices leads, although the dazzle of Lisa Dillon as Gilda initially Gilda will make if she decides to desert her wealthy husband outshines her inseparable lovers Otto and Leo. In the first Ernest, played with towering authority by Angus Wright, for an interval a lugubrious [male critic] said, ‘ It’s her clothes I want uncertain future with two wayward beaux in a turbulent to tear off, and I’m gay ’.” John Thaxter bisexual relationship. Approaching the occasion I had worried that the three Note: I was surprised to read in the June 2010 issue of Home Chat that I am “a past theatre critic” for a local journal. In fact for the last two decades I principals were rather young to be speaking lines about early have been regularly reviewing theatre for The Stage performing arts loves “when everything was still ahead of us.” The play had its newspaper. JT.

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Disappointing Design if Well Effected audience should be so firmly on side that they are willing, as I was willing with Gary Essendine in , to A review of Anthony Page’s Design for Living at follow them to the ends of the earth, irrespective of the amount The Old Vic by Sam Brewer of destruction left in their wake. *** And one feels that the fault must lie with the Master ime and again critics discuss because the quality of the whether or not Noël Coward is a acting and the production is T ‘moral’ playwright. After seeing so high. Lisa Dillon, who this production of his 1933 comedy was commended for her about a ménage à trois I feel that the recent performance in answer has to be firmly in the negative. Private Lives in the West Naturally the whole thing rests on End and who I thought one’s definition of ‘moral playwright’, brilliant in the National but if one takes the term to denote an Theatre’s staging of Present author who pushes a moral agenda or, Laughter three years ago, is at the least, refrains from pushing an absolutely at home in the immoral one, then it really is difficult anchor role of Gilda, whilst to see how Coward qualifies. For, in Andrew Scott’s camp this play he surely does glorify vivacity is, one comes to immoral behaviour. appreciate, just right for the And I do mean immoral, not part of Leo, particularly amoral. It is not the threesome itself; as when, in the third act, it Coward takes care to point out through stands in contrast to the the character of Otto, one of the disconcertingly calm manner members of the central trio. If three in which he delivers a string people choose to form a relationship of hilarious absurdities to a then what business is it of anyone else? gathering of baffled The trouble is that in this case it is the Americans. But, for my business of someone else, namely money, it is who Ernest, the aptly named solid, steals the show, essentially, I conventional, scrupulous admirer, and think because he possesses to ultimately husband of Gilda, the the greatest extent that female in the triangle. Ernest’s quality which is so difficult treatment at the hands of his wife, Otto to pin down but so and Leo (the last of the three) is impressive when in evidence: appalling. presence. He’s very witty, One might, of course, argue that he’s disarmingly dangerous, this sort of thing – the suffering of the he’s thoroughly alive. prim and proper at the hands of the What this production of dashing and debauched – is standard the play does, then, is to fare in a Coward comedy: think of the reveal two rather behaviour of Elyot and Amanda uncomfortable truths about towards Victor and Sybil in Private Coward. First, whatever Lives or (to a lesser extent) of the Bliss people say, in this play at family towards their guests in Hay least, he is not a moral Fever . Yes, but no. The thing about playwright. Secondly, he is both of those plays is that they are so fallible. As long as he doesn’t terribly funny that one cannot help but fail, of course, we are laugh at the antics of their protagonists prevented by the risk of the – and hope keenly that they get away charge of hypocrisy from with them. In such cases the audience saying anything. And, cannot object to the immorality indeed, it may very well be because they are complicit in it. the case that we shouldn’t Here though, things are different. say anything anyway. If we By Coward’s impeccable standards the are only meant to laugh then comedy is poor. The razor-sharp wit is where’s the harm in that? An missing, even if things do step up a author can, it seems, be gear in the third act. A running gag delightfully amoral – about animals, for instance, really immoral? – as long as he is doesn’t so much falter as fail to get out funny. But he must take great of the starting blocks. care to ensure that he is Each act is also too long, if admirably symmetrical. The funny. effect, therefore, is that one only begins to root for the trio in And, in this play Coward just isn’t funny enough. the closing scenes: much too late in the day. By that stage the Sam Brewer Page 5 Oct2010_Home Chat 04/10/2010 09:16 Page 6

WAITING IN THE WINGS , , London 31st August – 18th September, 2010. ow grateful we are to Leonie Scott-Matthews and the particular audience was warm, well-disposed and eager to find cast for giving us the opportunity to see this neglected the play good. Actually it was one of the most moving first H gem. On 12th September a group of Society members nights I have ever attended. The cast, immediately conscious met in Hampstead, north London, home to the Everyman that that atmosphere was favourable, played the play, if Theatre’s 1924 production of The Vortex , to visit one of the possible, better than they had every played it before.” earliest fringe theatres in London, Pentameters. We were However, the following day when the reviews came out, seeing their “Fiftieth Anniversary production” of Waiting in the Noël was, as he says “very angry indeed. Not especially Wings , which is also Coward’s 50th play. With the exception of because the critics hadn’t liked the play, which I was fully the 1999 Broadway production starring and prepared for, but because they had neither the wit nor the , this is its first professional production since the generosity to pay sufficient tribute to the acting.” He was original, which opened in Dublin on 8th August, 1960. particularly aggrieved about the reaction in the popular press, Except for Douglas Gordon, who saw the original “for they gave to their wide circulation of readers the wholly production at the Duke of York’s Theatre in London, none of us inaccurate impression that the play had been a failure from had seen the play. After two private readings of the script my every point of view.” own reaction was ambivalent and I wondered whether, even Even though this occurred 50 years ago, it still makes one’s with a star cast it would be successful and enjoyable after its 50 blood boil. The critics can do so much damage. There have year shelving. But I am happy to report that we were given an been countless examples such as Rodney Ackland’s giving up enchanting evening in the theatre; the play sprang off the page, writing after the savage reaction to Absolute Hell , or Harold warmed our hearts, stirred our emotions, amused us and Pinter’s despair after the opening of The Birthday Party until fulfilled the theatrical intentions Noël referred to in his Harold Hobson’s review came out in the Sunday Times. contemporary articles for the Sunday Times, “ Consider the Sometimes the Public ”. critics seem to be Waiting in the Wings is about a group of elderly actresses writing to impress who have fallen on hard times and are now living in a their editors and charitable theatrical home called ‘The Wings’. A similar home colleagues, but the exists today, Denville Hall in Northwood and I’ve often public knows what it thought how interesting it might be to be a fly on the wall. In likes and continues this play, Coward allows us to do just that and to enter the lives to support it. As of these former players and leading ladies. Written, I think, as Paul Taylor of a tender tribute to the many actresses he had known and also to Samuel French give a few of them some cracking good parts (there are 18 confirmed to us characters) Noël was very proud of this play, and thought it during our 2007 visit contained “two of the best scenes I have ever written” . It will to the premises (see surprise few reading this to learn that the critics of the time did Home Chat, August not agree and as Noël comments in his diaries, it was 2007), even when in unfortunate that the London production had to close in January the 1950’s Coward’s 1961 just as his Sunday Times articles were published about plays were becoming the shortcomings of the new movement in the English theatre. unfashionable, Noël first thought about a play called ‘The Wings’ in April amateur groups were 1958 and his diary records “I really do think that this has great not particularly possibilities” . He started writing it frantically the following concerned with month, but was dissatisfied and despondent on re-reading it, fashion and could thinking that although the characters and dialogue were good, put on what they knew to be popular. The plays of Coward and there was insufficient construction and in fact no play. Indeed it are the most popular in French’s lists, and is rather loosely constructed and I would describe it as a series Committee member, Geoffrey Skinner (Samuel French’s) has of highly entertaining vignettes or character studies. He seems confirmed that in the UK alone, there have been fifteen to have put it to one side and then one year later, in April 1959 amateur productions of Waiting in the Wings in the last five he writes “I read through what I had written of ‘Waiting in the years. Wings’ last year. I found it much better than I thought it was There were Machiavellian machinations surrounding the and so I set to work and finished it. I think I have done a good original production. For the first time during their long job and that it is a moving a valid play. I have worked hard on association, Binkie Beaumont refused to participate in the it and taken great pains.” Dear Noël, if you happen to be play’s presentation, and Cole Lesley confirms that Noël was looking down from Noëlly Heaven, you will see that your deeply hurt by this. The two leading ladies were played by public in 2010 agrees with you wholeheartedly. Marie Lohr (May) and (Lotta). Meeting at a After a triumphant two week run in Dublin in August, first night, Gladys Cooper asked Noël why he had written a 1960, followed by one week in Liverpool, the play opened at play about retired actresses and not offered her a part in it. the Duke of York’s Theatre, London on 7th September. Noël Noël explained that he had written it for her, but that Binkie says this: had told him she had turned it down without comment. Noël “From the moment the curtain rose on the opening had originally planned it with Gladys Cooper as Lotta and performance at the Duke of York’s Theatre I knew instinctively Sybil Thorndike as May. On top of this perfidy, Noël also that, blight or no blight (he meant the critics’ presence) that discovered that Binkie had been discouraging backers from Page 6 Oct2010_Home Chat 04/10/2010 09:16 Page 7

investing in the production, which was presented by Michael mother a home with his Canadian family. This is a realistic and Redgrave in association with Fred Sadoff. Noël then began to moving scene and the other one which Coward mentions he wonder if had really loathed the play, which had was proud of. been reported to him by Binkie. Our two leading ladies are played by (May) The Pentameters 2010 production has a fine cast and for and Aykroyd (Lotta). As the play opens Lotta is the those who don’t know the play, there are 18 characters, latest arrival at the home, accompanied by Dora (played by comprising ten elderly leading actresses resident at the home Hilary Hodsman) her devoted dresser, who is leaving to marry. (Noël calls them The loss for both ladies is immense and this moving scene is inmates); one of finely played by both actresses. Juliet Aykroyd brings them has only a immense dignity to the role and bravely conceals her emotions walk-on part at regarding the putting down of her nine year old dog; dogs are the end. The other not allowed in the home, thereby subtlely conveying great eight characters anguish. Miss Aykroyd gives a consistently fine performance in are Miss Archie this demanding role. Frances Cuka’s career spans 50 years in (resident Manager the theatre and on television, and she played the original Jo, in at the home), Shelagh Delaney’s A Taste of Honey in 1958. Frances has that Perry Lascoe certain magic on stage, great presence and although playing a (Secretary to ‘The seemingly uncompromising and stern character she allows Wings’ Fund), May’s, and her own, warmth to shine through. Maggie Osgood Meeker MacCourt is enchanting as Sarita Myrtle, who seems to be in (elderly former the early stages of Alzheimers. The character replays former stage door roles at the drop of a hat and when questioned by the prying Johnny), Doreen journalist about her time at the Wings, provides great hilarity. (maid), Dora Zelda: It’s a very nice house, isn’t it? (Lotta’s dresser), Sarita: Capacity Zelda Fenwick Zelda: Are you happy on the whole? (female Sarita: Oh yes, except on matinée days, I hate those journalist), Dr tea-trays, so distracting. Jevons and Alan Maggie MacCourt underplays this role, which makes it all (Lotta’s long lost the more effective. Her voice is very soft, but clear and she son, visiting from Canada). tiptoes around the stage like a little mouse on heels. There is a The action takes place over one year, from June to June and involves the conflict between two of the ladies, May and Lotta, who have not spoken to each other for 30 years, but end up in enforced proximity at The Wings. Eventually we learn the reason for the quarrel, but I doubt any female viewing the play would fail to realise at the start that it was about a man. Lotta tries to break the ice, but May is implacable, until there is a minor crises in the home, when a dotty inmate almost sets fire to it. During the ensuing calm, May and Lotta sit together by the fire and after a long silence haughty May has the simple, but oh so revealing line, “Were you happy with him?” Coward’s empathy with female characters is quite perfect and particularly here. So much emotion and pain is contained in those five simple words. This is the first of the two scenes which Coward considered to be one of his best. Other conflict arises over Perry’s introduction of a female gossip columnist into the home. His intentions are good; Zelda has promised to charming scene when Dr. Jevons arrives to take Sarita to a try to raise funds for a solarium, which the ladies long for, but mental home and Miss MacCourt delivers her goodbyes as if her subsequent article is deeply wounding to them and the leaving a theatrical engagement. This is beautifully written, fund-raising doesn’t happen. Other incidents include the but this scene, as with the entire play, very much depends upon departure of dotty Sarita to a mental home and the death of the quality of the players. Deirdre O’Malley whilst dancing an Irish jig. The final Minor character, Osgood Meeker has a moving role. As the conflict scene is when Lotta’s son, whom she hasn’t seen for oldest living ‘stage-door Johnny’, he became enamoured of 30 years, turns up unexpectedly from Canada and offers his Martha Carrington, when 18 years old. She was 25 years Page 7 Oct2010_Home Chat 04/10/2010 09:16 Page 8

older, but in her heyday. She is now bed-ridden and does not Wild, Weather’ to sing. Graham comments in his book ‘My appear in the play, but Osgood visits her each Sunday with a Life with Noël Coward’, “I also sang a haunting melody which bunch of lilacs. The young journalist talks to him about Miss hadn’t been written for the show and was clearly unrelated to Carrington, rather disparagingly saying she hadn’t much of a the plot, but as a “turn” in the party scene it seemed to fit voice. Osgood’s retort is “She hadn’t much of anything really, nicely. except magic, but she had a great deal of that” One of those Noël couldn’t have known the personal poignancy those perfect lines, we all know exactly what he means and it is last lines would have – Come the wild, wild weather, if we’ve reminiscent of Noël’s thoughts about . For lost or we’ve won, we’ll remember these words we say till our anyone who loves the theatre and the players this description of story is done”. the “magic” is deeply moving. Osgood was originally played David Lee-Jones plays Perry and gives a fine rendition of by , and Cliff Burgess performed it to perfection. the song. Clearly he loves his ladies and this comes across so We all felt it was straight from Cliff’s heart. The programme finely in his performance. notes reveal that as a young actor, he too was a huge fan of There’s insufficient space to mention the other players, who Miss Lawrence. had minor roles, but the director, Aline Waites (formerly Gwen Jackie Skarvellis, playing Cora, firmly established her own in Mrs Dale’s Diary , BBC Home Service) ensured that they character and own role in the home from the outset, as I had some fine ensemble playing. imagine a former leading lady would in real life. Jackie’s Pentameters Theatre exists on a shoe-string. In all her 39 sparkling eyes, highlighted by some amazing period headgear years of running the theatre, producer Leonie Scott-Matthews and striking costume changes, conveyed the full bitchiness of has received not one penny of funding from the Arts Council or the role. Patricia Leventon was splendid as the quirky Irish indeed anywhere else. Although the atmosphere is great, actress, Deirdre O’Malley. She played it with great spirit and facilities are fairly basic and the venue is far from perfect, but fun and was very popular with the audience. She has a good Leonie, who was recently honoured as an Associate of the death scene, whilst dancing an Irish Jig during the Royal Academy of Music for her contribution to the arts, is a musical scenes towards the end of the play. Sylvia Archibald, risk-taker and a life-enhancer. Undoubtedly, she is someone Miss Archie, is a good role to get one’s teeth into. She is the Noël would have enjoyed and respected. From members of the home’s Manager, who retired from ENSA at the end of the war Noël Coward Society and its former Chairman. Thank you. with the rank of full Colonel and who is kind, but very Barbara Longford militaristic in her approach. Josie Martin plays this part with References: great aplomb, never going over the top, which must have been The Collected Plays of Noël Coward, Play Parade, Volume Six, tempting. Miss Archie has an assistant, called Doreen. This is published by William Heinemann Ltd. (1962) a small, stock maid’s part which is played by a young actress – The Noël Coward Diaries, edited by & Sheridan Jade Davidson. Hats off to this young woman, who played it Morley, published by Weidenfeld & Nicholson (1982) to perfection. The Life of Noël Coward by Cole Lesley, published by There is some singing and music towards the end of the Jonathan Cape (1976) play which Noël intended to be played at the piano by Maud. My Life with Noël Coward, by Graham Payn with Barry Day, Here, recorded music was used but it worked well. A pivotal published by Applause Books (1994) role is that of Perry Lascoe, who as Secretary to the Fund, is liaison between the inmates and the Committee. Originally it was played by Graham Payn, who was given ‘Come the Wild, HOUSTON, WE HAVE A PROBLEM... A piece from the New York Post supplied by Barry Day

“Line-feeding devices (i.e. screens high above the audience or ear pieces to prompt actors in need) are becoming common in the theater. admitted using an earpiece during previews of . She covered it up with a wig made of gigantic Princess Leia (Star Wars) earmuffs. The technology isn't always foolproof. There was a delay one night and Lansbury stepped on co-star 's laugh line. The next night, standing in the wings, Atkinson asked - 'Do you think Angela is going to step on my line again ?' Ebersole replied - 'You'd better check with Houston.’ ”

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SWORD OF KINGS by Richard Mangan

f there can be said to be a single talismanic object in the long history and tradition of English acting, it is probably Edmund IKean’s sword. Reputedly worn by Kean when he played Richard III, the sword passed into the hands of William Chippendale, a member of Kean’s company. In his later years, Chippendale was employed by Henry Irving in his Lyceum company and, in gratitude, he presented the sword to Irving who wore it for the first night of his own performance as Richard. On Irving’s death, the sword came to the , perhaps via , Irving’s leading lady. It came into the possession of Kate Terry Gielgud and in 1939, she gave it to her son John when he played at the Lyceum. In a letter to her he said “ After the Lyceum performances are over, I shall have the engraving added to, putting your name and mine. Then it will be a nice thing to be handed on to another young hopeful, when I am too old to play Hamlet any more – which won’t be long now. ” In 1944, played what many regard as the definitive performance of Richard III. Gielgud, in a typically generous gesture, gave the sword to Olivier inscribed with the words “ This sword, given to him by his mother Kate Terry Gielgud 1938, is given to Laurence Olivier by his friend in appreciation of his performance of Richard III at the New Theatre, 1944. ” However – there is another sword. In 1819 Sir Thomas Sinclair and other Scottish friends and admirers presented Kean with a sword, a claymore with ‘Andrea Ferrara’ blade, silver basket hilt with emerald paste set on medallion and lined with red velvet, hand grip covered with shagreen. The scabbard is of rust coloured suede with silver top, tip and engraved thistle decoration set with emerald pastes and silver mount. It is inscribed ‘ C. Hunter and Co. Army Clothiers to the King and C. 25 Princes Street, Edinburgh. ’

The sword was inscribed on the front: To Esq. As a tribute of admiration To his splendid talents From His Friends at Edinburgh And on the reverse: This sword was presented To Edmund Kean Esq. To be worn by him When he appears on the Stage As “ King of Scotland” November 1819

This sword is now in the V & A Theatre Collection, to whom it was bequeathed by Douglas Emery in 1981. How Mr Emery came by it, I cannot tell. But – wonder of wonders! – there is a third sword! In 1936 Sir Seymour Hicks saw Noël Coward in Tonight at 8:30 and, overcome by Coward’s performance, decided that this sword should pass to him. It is about two feet long with what appears

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to be a steel blade; the guard is rectangular Presentation of the 3rd sword to Birmingham University by Michael Imison (3rd from and made of brass; however, rather than left) on the occasion of the Noël Coward Conference there in November 1999. being a solid piece, it is formed of brass plates held together by brass rivets. The blade shows signs of use: there are two or three slight nicks on one side, as though it had seen some combat. The grip is apparently of ivory in a spiral shape and the pommel also of brass. The scabbard is of brass and inscribed ‘ Edmd Kean ’. Sword and scabbard are contained in a glass- fronted frame made by Henry J. Murcott, a London picture frame manufacturer. Things get confused by the record – such as it is – of the provenance. A typewritten note says that ‘ the sword was worn by Kean in ‘Richard III’ and given to Henry Irving after his first night as Richard III by Mr Chippendale (who had acted with Kean). ’ Museum but left it in the care of Laurence Olivier! The note goes on to say that it was So one way or another, everyone gets a prize: the Olivier Given by Henry Irving to William Terriss family has the sword given by Gielgud; the V & A has the Given by William Terriss to Seymour Hicks ‘Scottish’ sword, though it didn’t come from Noël Coward; and Given by Seymour Hicks to Noël Coward. the Noël Coward Collection (in the safe hands of the Some of this makes sense: Seymour Hicks married Ellaline University of Birmingham Special Collections) still has its Terriss, William Terriss’s daughter. BUT – did Mr own. Chippendale have TWO swords? Are they both genuine? If anyone can cast any more light on this Holmesian According to , Coward was unable to decide mystery, I would love to hear from them. whether ‘his’ sword should go to Richard Burton, Peter Richard Mangan O’Toole or and bequeathed it to the Theatre

THE HISTORY OF FIREFLY by Peter Tod

n 1948, Noël Coward, whilst holidaying at the nearby home financially. Much of the contents (including pictures) of the of Ian Fleming, ‘Goldeneye’, fell in love with Jamaica. He house are owned by the Jamaica National Heritage Trust and Idecided to buy his own house further along the coast. He the Noël Coward Estate. Peter Tod bought and built the property that he was later to name ‘Blue Harbour’; a good sized property overlooking the sea. Later he There is a new website for Firefly www.firefly-jamaica.com expanded the main house, built three guest cottages in the funded by the Noël Coward Estate. The site is currently substantial grounds, and installed a lovely swimming pool being developed and amongst other things contains these down by the shore. Blue Harbour quickly became a Mecca for photographs and article by Peter Tod . Coward’s friends and the post-war ‘celebrity set’ of stage and screen. By 1955 Coward eventually decided that Blue Harbour was becoming too crowded for him to work; he needed ‘the valuable peace’. He set out to buy a hideaway retreat, and found a site 1200 feet above Blue Harbour – which he bought for $150. He had a simple house built for himself at the top of the hill and completed with an outdoor swimming pool. Coward named the property ‘Firefly’. The entire property enjoys remarkable views of the north coast of Jamaica. Life at Firefly with close friends revolved around the pool, Study, Studio and prolific use of the Music Room and open Dining Room – with food being sent up from Blue Harbour. Coward lived in the house alone. It was only towards the end of his life that a housekeeper and gardener lived nearby. Coward died at Firefly in March 1973, and he was buried in the garden of his beloved home. In 1978 Graham Payn gave Firefly to the Jamaica National Heritage Trust. In subsequent years, sadly, Firefly became very seriously run-down, and eventually Chris Blackwell (whose mother, Blanche, had been a good friend of Coward’s in Jamaica) bought the property and restored it to its former glory. Chris Blackwell still owns the property and supports its upkeep Page 10 Oct2010_Home Chat 04/10/2010 09:16 Page 11

BLUE HARBOUR • A CARIBBEAN TIME CAPSULE by Denys Robinson

hree villas, gardens and terraces lush with fruit-bearing are free to wander as a house guest in the most informal way – and trees, coconut and plantain. A haven of rest and unwind and relax under the influence of what Coward himself T relaxation amid the healing airs and natural springs. called “Doctor Jamaica”. You can read, swim, snorkel and canoe. The serene seven acre Blue Harbour estate was and Nowadays each of the three villas Coward built can be used by remains the Caribbean paradise that in the early 1950s, paying guests: there is fully staffed accommodation for up to 15 Noel Coward bought and enjoyed with friends like guests. The main house, the Villa Grande, has two large bedrooms, , Katherine Hepburn and . two baths, the kitchen and a living/dining room (see photo). The Remarkably, the villas he built there can still be enjoyed by Villa Rose has four rooms and an extra-large bath. Villa Chica is the 21st century friends of Noel Coward: the owners more secluded and closer to the sea and what is almost an “infinity welcome visitors from all over the world for memorable pool” (see photo) with one large bedroom, a walk-in closet and holidays. bath. It was here that Marlene Dietrich “I want to be left alone” stayed – and her wishes were granted, for three months. Coward's living/dining room in the Villa Grande (original furniture and books) Nick Middleton-Adams now acts as the unpaid UK agent for Michelle Gleeson and her family who run Blue Harbour as a guest house. They are keen believers in sustainable community tourism, employing staff from the local surrounding villages and fresh produce from local fishermen, farmers and markets. Nick believes passionately that if The saltwater “infinity” pool. only more of the 700 Nick Middleton-Adams met me to discuss or so members of the Blue Harbour which he happened across on a holiday visit Noel Coward Society would visit and support Blue Harbour, they of his own recently. He had been driving a hire car along would not only have a wonderful and truly memorable holiday, the north coast of Jamaica when he spotted a roadside sign they would enable the estate to be gently and sensitively restored promoting Blue to its original Fifties state. The danger Harbour as the otherwise is that it decays beyond rescue or is former home of snapped up by developers who rip out all the Noel Coward. Like iconic features and modernise it. Not everyone many Coward is enraptured by what has happened to Ian enthusiasts he had Fleming's Goldeneye further along the coast. heard of nearby Firefly, commanding its magnificent view Firefly on its hilltop, where Coward worked – and died, but knew nothing of Blue Harbour. The owner showed him round. When he Coward and friends at the Villa Grande saw Noel Coward's sitting room with much of its original furniture and books, he fell in love with it straight away – and stayed. Visitors should not expect anything smart and sophisticated at Blue Harbour. It was not so even in Nick Middleton-Adams (seated on the steps) Coward's day. His guests – even people like Winston with friends in 2010. Churchill and Errol Flynn – mostly lived in beach clothes and in beautiful but very simple surroundings. The years from the mountainside bordering Blue Harbour, is of course now a and the climate make maintenance challenging for all museum, and its future too is very much in doubt. Serious money coastal properties in Jamaica, and there has never been the needs investing if it is to survive in anything like an acceptable money to ruin the original concept by a lavish “restoration” way. Blue Harbour's visitors can climb (or be driven) to the hilltop. and modern luxury fittings. So go expecting to enjoy a For more information, and to book a holiday, visit “time capsule” where you are using Coward's original www.blueharb.com or ring Nick Middleton-Adams on 020 8699 crockery and cutlery – his kitchen in its original state. You 3815 or e-mail him on [email protected] . can even use Marlene Dietrich's shower. Nick told me you Denys Robinson Page 11 Oct2010_Home Chat 04/10/2010 09:16 Page 12

Home Chat is the newsletter of The Noël Coward Society, generously funded by The Noël Coward Foundation

Organising Committee Act. Chairman: John Knowles Secretary: Denys Robinson Treasurer: Stephen Greenman North American Director : Ken Starrett US West Coast Liaison : Kathy Williams Representative for Australia : Kerry Hailstone Representative for France : Hélène Catsiapis Unless otherwise stated all images and text are copyright to NC Aventales AG

Letters to: John Knowles, Details of some productions, publications and events 29 Waldemar Avenue, WHAT’S ON ? see www.noëlcoward.net and www.noëlcoward.com for more. . . Hellesdon, Norwich, NR6 6TB, UK DESIGN FOR LIVING CABARET CONVENTION [email protected] At The Old Vic - Theater, New York Tel: +44 (0) 1603 486 188 3 September to 27 November 2010 Although too late to announce the opening of Mob: +44 (0) 7515 356 067 the Cabaret Convention in New York there will NCS news from the US compiled by Ken Starrett. The production will mark ’s be a full report in our next edition. Thursday, October 7: Gala Opening Night, Editor, design and production: seventh season as artistic director of the Old John Knowles. with Klea Blackhurst, Carole Bufford, Barbara Vic. Publication and distribution: BRIEF ENCOUNTER Carroll, Jeff Harnar, Nicole Henry, Barb Jungr, Stephen Greenman Amanda King, Sue Mathys, Marilyn Maye, T. Music correspondent: The Roundabout Theatre Company in Oliver Reid. Presentation of The Mabel Dominic Vlasto. association with David Pugh & Dafydd Mercer Award to A Very Special Artist. Proofing: Kathy Williams and Rogers and Cineworld presents the hugely Presentation of the “Award of Appreciation” Ken Starrett. successful Kneehigh Theatre's production of Citation to by Angela Lansbury. Noël Coward’s B rief Encounter, adapted and Articles without a byline are by directed by Emma Rice. Current through to Friday, October 8: “If Love Were All”/The the editor. Contributions are invited from members. December 5, 2010 at Studio 54 on Broadway Timeless Words & Music of Noël Coward. (254 West 54th St.) The editors reserve the right Special appearance by ; with to edit all copy, images and Nancy Anderson, Christine Ebersole, Gregg decide on inclusion of items. Edelman, Nicolas King, Sidney Myer, Sarah Details included in Rose Theatre - Kingston Rice, Steve Ross, Craig Rubano, Jennifer ‘What’s On?’ are as received, Directed by Stephen Unwin Sheehan, KT Sullivan. Presentation of the first with our thanks, from: Presented by Rose Theatre, Kingston annual “Noël Coward Cabaret Award” to Samuel French will be performing the role of Jennifer Sheehan. (Play Publishers and Author’s Representatives), Judith Bliss from Thur 23 Sept - Sat 9 Oct. Ken Starrett (US), Saturday, October 9: Songs for a Saturday Nichola McAuliffe (Surgical Spirit) will be Alan Brodie Representation joining a great ensemble cast from Mon 11 - Night, with Karen Akers, Kevin Dozier, (Professional Productions), Sat 23 Oct. Malcolm Gets, Tanya Holt, Karen Mason, NCS members and Stearns Matthews, Karen Oberlin, Johnny theatre companies. Champagne Gala Night - Fri 15 Oct Rodgers, Isabel Rose, Avery Sommers, Anne £45 include top price ticket, souvenir Steele, Lumiri Tubo. Presentation of The Julie For details of rights for programme, pre-show and interval glass of Wilson Award to Nicolas King. professional productions: champagne. www.alanbrodie.com THE NOËL COWARD SOCIETY For amateur productions www.samuelfrench.com or Special Performances WELCOMES NEW MEMBERS! www.samuelfrench- Wed 20 Oct, 7.30 pm: STAGETEXT If you would like to join the Society please london.co.uk captioned performance Sat 23 Oct, 1.00 pm: contact: For publishing rights: Touch Tour Sat 23 Oct, 2.30 pm: Audio- Stephen Duckham: www.methuen.co.uk described performance with William Clancy. [email protected] For music rights: Tel: +44 (0) 2476 229 502 www.warnerchappell.co.uk TIME TO TALK with CELIA IMRIE In North America contact Ken Starrett: Our website: Tues 5 Oct, 5.30 £5, £3 [email protected] Tel: 00 1 212 877 4259 www.noelcoward.net