THE NEWSLETTER OF THE NOËL COWARD SOCIETY - AUGUST 2009 Free to members of the Society Price £2 ($4) President: HRH The Duke of Kent, KG, GCMG, GCVO, ADC Vice Presidents: Tammy Grimes • Penelope Keith CBE • Barry Day OBE • Stephen Fry 2009 • The Year of the Society’s 10th Anniversary PENELOPE KEITH appointed as Society Vice President Gala Evening at the Noël Coward Room, the Hampton Hill Playhouse and RELATIVE VALUES eddington’s association with Noël Coward adopted a new strand at the Gala Evening jointly hosted by The Teddington Theatre Club and The Noël Coward Society at the Hampton Hill Playhouse on Sunday 5th July, when Penelope Keith CBE, DL was officially appointed as a Vice President of The Noël Coward Society. Miss Keith and her husband attended a champagne reception T held in the Coward Room at the Playhouse where over 60 NCS members and members of the Teddington Theatre Club applauded her appointment. Miss Keith met many members at the reception including two new members from Cambridge University - one of whom told us, “ I was so surprised that she spent all of our time together asking about my interest in Noël Coward, my future plans and forthcoming entry into drama college - she was so interested in us! - it was marvellous to meet her. ” Dominic Vlasto and guests Miss Keith was welcomed by NCS Chairman Barbara Longford who said: “Welcome to the tenth anniversary celebrations of the Noël Coward Society and the Teddington Theatre Club at the Hampton Hill Playhouse. This event was conceived about a year ago, when Jean Goodwin, the club’s Artistic Chairman contacted the Society and invited us to join their celebrations. A Coward play, they Penelope Keith as Judith Bliss in ‘Hay Fever’ thought would be the most appropriate and Roger Smith would be the best director for ‘Relative Values’ particularly as Roger had done much work, as Chairman, to help build this excellent theatre. It’s very good to see the President of the theatre club, here today – Eric Yardley. Eric is an old friend of our Society and he was responsible for raising the funds – at least £850,000 - towards the building of this theatre. On behalf of Society members, thank you to the staff of the Teddington Theatre Club, for helping us to host this celebration and a particular thanks to the organiser – Sue Bell. Penelope Keith and Eric Yardley On the Society side, we are delighted that Alan and Alison Brodie have been able to join us today. Alan is the Chairman of the Noël Coward Foundation, which made a significant donation towards the funding of this theatre and which also gives greatly valued encouragement and funding to our own Society. Amongst our distinguished members, I should like particularly to welcome Blanche Blackwell and Michael Cox, as they were both personal friends of the man we still call ‘The Master’. Indeed, we are all honoured today to be joined by one of this country’s best loved actresses– Miss Penelope Keith and her husband, Mr Rodney Timson. Penelope starred in two of the most successful situation comedies in entertainment history, first as Margot Ledbetter in ‘The Good Life’ and later as Audrey Fforbes-Hamilton in ‘To the Manor Born’ and this year she is celebrating 50 years in the profession. Penelope must be one of the few actresses to have played Penelope Keith, Barbara Longford and Stephen Greenman

A Booking form is enclosed for our 10th Anniversary event at the Hurlingham Club both Amanda in ‘Private Lives’ and Madame Arcati, in ‘Blithe Amanda’ and I did that on the Spirit’. And as well as her extensive work in the theatre, television. I then played Judith Bliss Penelope is also the President of the Actors’ Benevolent fund, a in London and a year later played role she took over on the death of Lord Olivier. She served as it on television and was reunited High Sheriff of Surrey from 2002 -2003 and is now Deputy with an actor with whom I had Lieutenant of the County. She was appointed C.B.E., in 2007. worked off and on for four Miss Keith was chosen to succeed the late Moira Lister, as years, Paul Eddington who Vice President, by all our members because we feel that of all played David Bliss. So that the actresses who have played Coward in recent years, your was a nice rounding of the performances have best reflected the style and standards of circle. I think after that I which Noël Coward himself would have wholeheartedly did a concert version of approved.” ‘After The Ball’ with Stephen Greenman presented Miss Keith with her scroll of opera singers - which appointment and a gift from the Noël Coward, London Office, was fascinating. I now part of the NCS Archive Collection. played the Duchess Stephen said: “ Members of the Society regard you as an of Bristol and that was actress of high comedy par excellence and we are very my only chance to be a fortunate that you have performed so many of Noël Coward’s ‘diseuse.’ Then we went on to signature roles including if I may say, the definitive Chicago and did it there. I came representation of Judith Bliss in ‘Hay Fever’ both on stage in back and did a wireless the West-End and for the BBC recording. version of ‘A Suite in Three More recently as Madame Arcati, in ‘Blithe Spirit’ at the Keys.’ I was then asked to Savoy Theatre, the critics were effusive and if I can paraphrase play Arcati and of course Charles Spencer for a moment, he wrote: leapt at the chance to ‘With Penelope Keith, that most gloriously mannered of play it - the right age theatrical grand dames, Madame Arcati, sniffs for ectoplasm this time. like a hungry hunting dog, throwing cucumber sandwiches And that was the over her shoulder with mad abandon, making this comedy last Coward play I about death still to die for.’ did. I feel I have I believe we have cucumber sandwiches on the menu today come full circle should the urge take you... on behalf of all our members it is now and I suppose my very great honour and pleasure to present you with this the only progression is scroll to welcome you as Vice President of the Noël Coward ‘Waiting in the Wings’ but I am Society and this small gift, a first edition of Sir Noël’s only going to wait a few years. . . ! novel: Pomp & Circumstance, as a memento of the occasion Meanwhile I feel very honoured to be your today. Miss Keith, Welcome to the society and thank you.” Vice President, thank you so much for asking me. ”

In reply Miss Keith said: “Thank you very much indeed I feel very honoured to be a Vice President. I have been lucky enough to play quite a few Coward roles in my time. When I was at drama school I was in a production of ‘Still Life’ and I had the wonderful part, Joyce Carey’s part, and one of the only things I can remember about that was having to say, ‘cake or pastry?’ then when I went into rep., they did ‘Design for Living.’ I didn’t play Gilda, I played the maid and I had to pick up the telephone and say ‘allo’ and then go on saying ‘allo’ for about five times. However I progressed because when I went into rep. at Cheltenham I played Madame Arcati, I think I was about 25 at the time, and I remember thinking then, I need another bash at this when I’ve had a little bit more experience. The next time I spoke something from Coward was when I auditioned for the Royal Shakespeare Company and I chipped in something from the modern repertoire - an item I thought fitted the bill. I had been reading some Noël Coward short stories and I lifted a paragraph from a story.... called ‘Star Quality’ which was quite PHOTOS: taken by Andrew Weeks and John Knowles rude about directors, I thought that might cheer them up. So I and received from Miss Keith and Teddington Theatre Club. chose that little knowing that I would be lucky enough to create that part on stage some years later. The evening was completed by a performance of the After that I played in ‘Fallen Angels’ with Fenella Fielding Teddington Theatre Club’s production of Relative Values at Watford and then I was really lucky. A marvellous producer Coward’s famed comedy of manners written in the 1950s and at the BBC phoned me up one day and said, ‘Would you like to built on a clash between the cultures of Hollywood and the play Amanda?’ To my eternal shame I actually said to Cedric English aristocracy - to great effect. (Messina), ‘Amanda who?’ But it did turn out to be ‘the A Gala Evening to be remembered! Page 2 The Launch of the Cambridge University COWARD AT CAMBRIDGE Faculty of the Noël Coward Society he most significant event in this our tenth anniversary year must surely be the launch, by students of Trinity College Cambridge, of their own branch of the Society. When most of us have joined the feathered choir, these talented young people will, to quote our distinguished VTice President, Mr Barry Day; Balliol College, Oxford, “keep the Coward flame burning.” What a day they gave us! Such style. Such panache. Such professionalism. And oh, the energy of youth. Members were bowled over by the sheer joy the students brought to the proceedings. This was one of our most pleasurable Society events to date. From the Society’s side, the protagonist was NCS Secretary, Denys Robinson, himself a graduate of Brasenose College, Oxford, who has been working with the students for many months encouraging their interest in Coward and signing Alexander Winterbotham and Elizabeth Donnelly them up for Society membership. From Trinity College, Alexander Winterbotham took the lead; already the President are hung with portraits of Francis Bacon, the Duke of Sussex of the University’s Dryden Society, he masterminded the and the Marquis of Granby. There is a large Adam fireplace, a productions and the development of the new faculty. Wedgewood ceiling and many tall gilt framed mirrors. Perhaps On Thursday 11th June thirty members made their way to not an ideal setting for a play written and placed in 1929, Cambridge on a sunny morning for a student performance of nevertheless it was an intimate space and when Sibyl and Elyot ‘Private Lives’ in the large, peaceful and immaculately kept entered our disbelief was immediately suspended. Lizzy Fellows’ Garden of Trinity College. Alex Winterbotham, who Barber (Sybil) who gave a consistently estimable performance, directed the play, was waiting to greet us and issue our tickets, was wearing appropriate flapper clothing and pure silk but within seconds our infamous British weather kicked in with stockings and despite the potentially upsetting circumstances of a vengeance. A huge cloudburst saw us all scuttling off having to abandon the original set, she and Alexander Owen towards various trees underneath which sheltered diverse (Elyot) gave us a fine opening scene and as they departed to groups of members clutching glistening umbrellas and trying to dress for dinner, Gertrude Lawrence’s recording of ‘Someday behave with some sang I’ll Find You’ was playing. froid. Johan Munir, an utterly credible Victor, in dinner jacket and I saw some of the wing collared bow tie, looked most distinctly in period, and, actors, waiting in the with his jaunty moustache, like a young Ramon Novarro. His open air wings, clear and precise diction was a delight. Elizabeth Donnelly A surprising aspect of this production was the ferocity of (Amanda) in a short the quarrel scenes, which the cast attacked with enormous sleeveless silk dress, passion and gusto. No actors I’ve previously seen have made high heels and stockings the arguments and fights quite so hot, raw and credible. Indeed and young gents in black at one point I feared for Sybil’s health when she became tie, with rapidly sodden entangled trying to separate the warring Elyot and Amanda in trouser legs. As the Act III. The initial quarrel between Sibyl and Elyot in Act I deluge continued, a was exciting and effective leading to the hilarious lines, performance in the open Sibyl: “mother was air became out of the perfectly right. She said you question and the Rob had shifty eyes”. Mills’ set had to be Elyot: “Well, she can’t talk. Hers are so close Alexander Winterbotham abandoned. Members were then together, you couldn’t put a guided out of the lovely gardens, across the Queen’s Road (the needle between them.” Backs) and into the hallowed precincts of Trinity College; one Elizabeth Donnelly of the loveliest places in England. We waited outside the (Amanda) and Alexander College Hall, for the production team to reassemble the Owen (Elyot) were a little furniture and props. Some members had dressed with distinct disappointing when acting panache. Anthony Skyrme, sporting his flamboyant mutton together in the incomparable chop whiskers, had dressed in white flannels, a striped 1930’s love scene of Act I. There period pullover, necktie and jaunty straw boater. Naturally, he was a lack of rapport had been punting on the Cam before lunch. between them and one When the stage set was reassembled, we entered the Old couldn’t believe they were Combination Room for the performances. The Georgian madly in love. Alex Owen Elizabeth Donnelly windows of this elegant room overlook the quad and its walls did not make the most of the

Page 3 sexual longing implicit in the line “There isn’t a particle of you Denys began by welcoming the Chairman of the Noël that I don’t know, remember, and want.” However, by the time Coward Society, Barbara Longford; the Treasurer, Stephen they reached Amanda’s apartment in Paris in Act II, they had Greenman and the Editor and Webmaster, John Knowles. He both become comfortable in their roles and the love and then talked about another Committee member, Robert passion were played for real. Now Elizabeth Donnelly had Gardiner, who was unable to be present because as a Trustee of grown into the role and was a convincing Amanda. the Noël Coward Foundation, Robert was attending a Trustees Incidentally, Elyot was unable to “look awfully sweet in your Meeting at Les Avants. Robert had generously agreed to little dressing-gown” , the line was cut as he wasn’t wearing underwrite the funding required for the launch of the one. It may have been sodden in the earlier downpour. Cambridge faculty. However, because so many NCS members Act II was particularly effective and very moving. There had turned out, despite transport strikes, it was hoped that were tears in my eyes when Robert would not have to dig too Elyot spoke about his trip round deeply into his own pockets. We all the world and all the beautiful expressed our appreciation for things he’d seen .... “scarlet Robert’s kind gesture. Denys then flamingoes flying over deep, credited Alexander Winterbotham, deep blue water. Breathlessly Elizabeth Donnelly, Emily Tesh, lovely, and completely unexciting Salvador Lloret Farina and Rob because you weren’t there to see Mills with leading roles in setting them with me” . ‘You were There’ up the Cambridge branch. He also has always been my favourite thanked Joe Bunker for his skilled Coward song and Alex Owen piano accompaniment and Dominic brought out the full poignancy of Vlasto, who was unable to be that universally experienced loss. Anthony Skyrme, Tamara Astor and Oliver Davey present, for his expert musical Similarly with the lines about desire fading along with passion advice. and Amanda saying “Oh dear, shall we like that?” Elyot: “It Denys talked about the characters of Victor and Sybil. In all depends on how well we’ve played” , Alex Owen this production they were by no means also rans and their emphasised the enigma inherent in that thought. characters were given equal prominence with Elyot and This production allowed us to look at Private Lives afresh. Amanda. This, said Denys, was a commendable aspect of Members were particularly impressed to see a play with which Alex’s production and was close to Coward’s intention. They we are all so familiar, given a new interpretation by such gifted were not simply figures of fun and we were allowed today to young students. see matters clearly from their perspective. After an interval of canapés and Pimms, we settled down to Denys then read an extract from The Noël Coward Diaries, watch the cabaret, which had been conceived to take place in as follows. the Old Combination Room. Billed as “Oh, how fortunate I was to have been A Light Evening of Noël Coward’s Music , it born poor. If Mother had been able to afford was produced by Elizabeth Donnelly and to send me to private school, Eton and Oxford Alexander Winterbotham, with the or Cambridge, it would have probably set me assistance and advice of NCS music expert, back years. I have always distrusted too much Dominic Vlasto. Johan Munir has a lovely education and intellectualism; it seems to me singing voice also and his ‘Nina’ was that they are always dead wrong about things delivered at full strength with great that really matter...... I believe that had confidence and was accompanied by a my early formative years been passed in more dance by Jennie Dunne and Tadhgh Barwell assured circumstances I might quite easily O’Connor. The sweet voices of Hannah have slipped into preciousness; as it was I Blaikie and Charlotte Reid, a blonde and a merely had to slip out of precociousness and brunette both wearing short black silk bring home the bacon.” dresses with black shoes and stockings, Member Stuart Griffiths, a former gave an attractive ‘Someday I’ll Find You’, President of the Oxford Union, referred to the which was followed by a mature and self- quotation later and commented that if Pinter, assured version of ‘I Wonder What Osborne or Stoppard had read English at Happened to Him?’ with excellent timing Oxford or Cambridge, in his opinion it would Alexander Winterbotham, Lizzy Barber and and use of pauses, by Simon Haines. Then Johan Munir have totally cramped their style and originality. Lizzy Barber, who had been simply perfect The evening concluded with ‘A Bar on the in the role of Sybil, sang ‘Mrs Worthington’, with a little too Piccola Marina’, sung by Tadhgh Barwell O’Connor, with much acting technique. The words of the song don’t really accompanied movements mimed by Tamara Astor, who, need of such support. But her performance was very well although tall, young and slim, did very well as the tipsy and received. After a second interval, with more canapés and middle-aged Mrs Wentworth-Brewster. bubbly, wearing a black dress and sequinned bolero Georgina On behalf of the Committee and members, a particular Hunt sang a version of ‘Mad About the Boy’, similar to that of thanks to Denys Robinson and Alex Winterbotham, who has Julie London, with which I think Noël himself would have written to me to say “I can’t wait for more similar events to been delighted. take place in the future; I think this society branch has a huge The penultimate song was a pleasurable ‘Uncle Harry’, potential to attract a cult following and great acclaim.” Our performed by Alexander Winterbotham and then Denys sentiments entirely. Robinson took the floor to deliver his vote of thanks. Barbara Longford Page 4 ORPHANS OF THE STORM A programme from a special matinee show featuring Noël Coward during his war-time visit to Australia in1940. rogrammes are rarely scarcer than this one from one of Noël Coward's 1940 appearances in Sydney. It was sent to Australian PNCS member, Kerry Hailstone by a Sydney member of the Australian Noël Coward Appreciation Society . The front cover pen sketch captures Noël Coward as he was for Australians in 1940. It is interesting to see how the programme was arranged with information on the object of the fund-raising event to support those in Britain made homeless by the bombing during the Battle of Britain that took place in the Summer and Autumn of 1940. Coward writes in Future Indefinite : “ My farewell performance in Sydney, which closed my tour , was a special matinée given in aid of the bombed-out

victims of the London blitzes. Lord Gowrie drove in a hundred miles from the country to support it and all the leading artists that I knew actually when I had been there for only a few days. of Australia appeared willingly and gladly as theatre people Principal among these was the abiding loyalty among always do. It was a tremendous success and, with the help of Australians to England. ” generous donations, a total of two thousand pounds was Kerry Hailstone and John Knowles raised. ” In the preface to the published book of the broadcasts he A pdf of the complete programme is available from the made in Australia and New Zealand at this time, Australia Members’ Page on the newly redesigned NCS website at Visited , he wrote, www.noelcoward.net (members will have been informed of “My visit to Australia was a strange experience and a very the passwords for this part of the website in the letter they moving one. I received on joining or renewing their membership). toured all the states of that HOME CHAT ONLINE: unique continent This edition of Home Chat can be seen online at in seven weeks. http://www.noelcoward.net/members/members.html There was not together with recent back copies of the magazine. time to absorb This library of past editions will be extended to allow new many details of members to catch up on past articles and series pieces in the war effort the magazine. Your password to access these pages is there, but there included in your membership acceptance letter. Noël broadcasting in Australia are some things

Page 5 A look at the signatures of Noël Coward A SIGN OF THE TIMES and the story they tell . . . n Cole Lesley’s biography of Noël Coward he recalls the Lawrence. joy felt by Noël with the initial success of his play I‘ll The book has been put in our Coward display cabinet for Leave It to You. all to see. But if anyone can remember how we acquired this “For the first time he found fans waiting for him precious item please let me know.” Jean Goodwin outside the stage door, as he had done in earlier years for PIavlova, Gertie Millar or Lily Elsie. From then on unless he The finely honed version of Coward’s autograph we know was hopelessly late or for some other valid reason, he never was not the only signature he used. refused to give his autograph. ‘When I was young, I wanted In Barry Day’s book, The Letters of Noël Coward there are more than anything to be a star; when I became one I realised singularly familiar sign-offs such as RABBIT’S BOTTOM and it brought certain obligations. As long as there are people who Annamary Dickey to wait for my autograph, I shall give it. And if the day ever intimates and of course comes when no one waits, I shall miss it dreadfully.’ the unthinking behaviour of fellow-stars who brushed their fans aside upset him. ‘You mark my words the day will come...’ And it did for some of them; not for Noël .” In earlier childhood days we know that Noël spent hours perfecting his signature in preparation for the stardom that he knew would come. The following story gives an example of an early Coward signature that was to develop into the unique autograph of Noël Coward. Jean Goodwin, the Artistic Director of the Teddington Theatre Club wrote an article in the latest edition of the Teddington Theatre Club magazine about this recent find amongst the items in their archive: “A historical detective story this month. Found in our script cupboard recently, together with books about Noël Coward, a beautiful 1910 edition of ‘The Sleeping Beauty and other fairy tales from the Old French,’ retold by A.T.Quiller-Couch and Illustrated by Edmund Dulac. The book bears the inscription: Noël, Noël, Noely and Noelie ‘To Mrs Clifford Mills with best love from all her and on later occasions, Rainbow Children - mortals and fairies - & with love from Master. those that take care of the children in their work - A book of A recent acquisition shows this signature of the Master on fairy tales - To one two cards to the actress Stella Moray who in 1962 appeared as who has written us a Maimie Candijack, and understudied Elaine Stritch, in Sail beautiful new one - Away at London’s Savoy Theatre. Garrick Theatre 1915- The dedication with shown above with Noël’s normal 16’ signature is in a copy of The Theatrical Companion to Coward It includes the sent to Stella at the time. The correspondence relates to the signature of Noël sending and receiving of good wishes and a gift during the Coward and Italia production run. “Mr. Candyjack” [sic] is a reference to Elmer Conti. Candijack, Stella’s stage husband in the show. Mrs Clifford Mills On his paintings Noël adopted an almost childlike signature was a co-author (with often painted in block capitals with a stiff-bristled filbert brush John Ramsey) of the but sometimes he used mixed upper and lower case letters. In then highly popular later paintings he occasionally used a version of his written children’s play, ‘Where signature. the Rainbow Ends,’ Although we know that his signature has been successfully which was premiered forged at times, its distinctive use of the dieresis and an in 1911 and performed elongated ‘C’ across the ‘o’ of Noël plus the sweeping ‘N’ of almost every Noël and the long tail of the ‘d’ in Coward make a flowing and Christmas in various West End theatres until World War II. unhesitant signature difficult for the copyist. After the war, it fell out of favour because of its overt Empire For Noël his signature was as much a statement about content but is still in Samuel French’s play list today. himself as any of the other tools he applied to his iconic image For the 1911 production, Italia Conti was asked to train the and trade. children and this marked the beginnings of the Italia Conti Given Coward’s thoughts on signing autographs it was Academy. Noël Coward (aged 12) was in this as well as the interesting to note that at a recent Coward event at Pizza On 1915-16 production which was the subject of this presentation. The Park a famous film actor refused to give his autograph... Coward went on to appear in the play until he was 22 at least, mm... we haven’t seen him in much lately either...! obviously moving from a child to an adult role. At various John Knowles times, he appears in the play with Jack Hawkins and Gertrude

Page 6 A MARVELLOUS PARTY Jim Griffith and Bobi Sanderson sent in these cuttings on this successful show that originated in Chicago, written by Carl Danielsen, who also performs in the show Jim and Bobi say that this is perhaps the best revue they have ever seen. It compares favourably with Oh Coward and Cowardy Custard . John Abernal of the Windy City Times put his appreciation of this hugely successful show thus: Fans of Noël 'The Master' Coward will have a field day with this effervescent new revue, handsomely staged with simple elegance by David Ira Goldstein and performed with stylish authority by Mark Anders, Carl Danielsen and gifted comedienne Anna Lauris. Call it elan, brio, panache or pizzazz, these three have it. Whether it's Anders casually enunciating 'Mad Dogs and Englishman' in a manner NOT imitative of Coward, or Danielsen sincerely rendering Coward's musical epitaph 'If Love Were All,' or Lauris climaxing Act I with Coward's musical comedy burlesque, 'The Coconut Girl,' anthologized but rarely performed in there are treats aplenty. context. Wouldn't it be swell to see a full And Coward isn't easy. Take his production of ‘Bitter Sweet’ or lyrics for 'Don't Put Your Daughter on ‘Conversation Piece’ or ‘Sail Away,’ the Stage, Mrs. Worthington' and 'Mrs. rather than just hear songs from them? Wentworth-Brewster' ( both performed John Abernal in the show ). Just when you expect a line to end a quatrain with a rhyme, it runs on to a second quatrain in a NEXT EDITION different meter. Only Coward—writing Items have been coming in thick performance pieces for himself—could and fast for this edition of your compose music that perfectly matched favourite magazine on the world of his witty but odd lyrics, often Noël Coward. (Is this the only incorporating key changes that sound magazine in the world dedicated to too studied and arch although the Master? Probably!) entertaining. Lacking formal musical In the next edition we look at training, Coward never learned you one of the less well-remembered shouldn't do such things, not that he wouldn't have anyway. The homes of Noël Coward - Bermuda. cast, backed by a bright trio, handles all with aplomb. Len Brown has researched The show's roughly divided between specialties written for Noël’s Bermuda home and visited revues and cabaret, and Coward's more serious incidental the island with his wife Janice to songs and operetta numbers. The revue songs smack of ribaldry do - what he calls - ‘a little house- and corn, albeit clever corn, for Coward very much was a hunting.’ traditionalist whose heart never completely left the English The results, with extracts from music hall. A Marvelous Party offers several lesser-known local journals, explores Spithead revue gems such as 'What Ho! Mrs. Brisket,' the double Lodge (below) and the waterfront entendre 'Would You Like to Stick a Pin in My Balloon?' and property that became the studio the aforementioned 'The Coconut Girl.' But apart from these unfamiliar revue tunes, A Watergate that Noël used as his Marvelous Party mostly replays Coward's greatest hits, and one wonders why. own bedroom. There already are at least two other perfectly charming Coward revues, Cowardy Custard and Oh, Coward. Why create another one if you aren't going to mine substantially new territory? There's also one real misstep: the inclusion of Coward's parody of Cole Porter's 'Let's Do It,' written by Coward for his 1950’s Las Vegas solo act. The cast admits it doesn't play well today and offers updated parody lyrics of their own. Why bother? Surely, for the show's penultimate number, they could have found a suitable song by Coward himself? Familiar as they may be, the Coward words and music are wonderful to hear and A Marvelous Party does them proud. But it's odd how Coward's music so frequently is

Page 7 The Society’s 10th Anniversary Celebration ‘Don’t Put Your Daughter Saturday 10th October, 2009 • Black Tie • 5.45 p.m. – 8.45 p.m. • Optional Dinner at 9.p.m. to all those members, who returned Our event will begin in the elegant Palm Court area, the THANK YOU the ‘Expressions of Interest’ form. latest addition to the club’s premises with its towering palm The response was excellent, so the second tranche of deposit tree beneath an immense glass dome. We shall overlook the has been paid to the club and this event is confirmed. Booking fine croquet lawns which stretch out towards the banks of the is now open and a Booking Form is enclosed. Thames. During the wine and canapés Reception, Barry Day’s The Hurlingham Club (www.hurlinghamclub.org.uk) is latest book The Essential Noël Coward Compendium , which is situated on the banks of the River Thames, in Fulham and is set due for publication at the end of September, will be launched in 42 acres of magnificent grounds, with a striking Georgian and our Vice President will be joining us and signing copies. clubhouse. From before 1066 the lands of which Hurlingham For this evening only members will be able to purchase forms part belonged to the Bishops of London who had their the book at a special discounted rate. summer residence at Fulham Palace. In 1760, Dr William At 6.45 we repair to the Cadogan, a famous physician of his day and a friend of Garrick adjacent Mulgrave and Sheridan, leased nine acres from the then Bishop on which to build himself a “cottage”. This is the core of the present Hurlingham House. In 1797 the lease was re-granted Theatre for the evening’s to John Ellis, formerly of Jamaica who, in entertainment, which begins with a film by 1800, acquired the freehold with an John Knowles. Members will be able to take their additional eleven acres. Mr Ellis drinks into the theatre, which will be arranged in cabaret style. employed the architect George This film entitled “Brief Encounters: selected images of Byfield (with Landscape advice from Noël Coward,” mirrors the intentions of Barry Day’s book by Humphrey Repton) to enlarge the providing film and video clips that are essential to the ‘cottage' into the neo-classic mansion understanding of the life and work of Noël Coward. as we see it to-day. It is recorded that The centrepiece of the evening will be the Revue of Noël George Canning, later Prime Minister, Coward’s words and music, entirely presented by Members used to visit the Ellises at Hurlingham themselves. covering the distance from the House of Dominic Vlasto is putting together a splendid and Commons in a gig with a fast entertaining display of the talents not only of our hero’s work trotting horse in twenty minutes. but also of the undoubted talents of many of our Members. In 1807 the estate was sold to the 3rd Earl of Those who saw the revue that was “thrown together” by Egremont, a magnificent patron of the Arts Dominic and Celia Cologne at our weekend House Party at and the Turf, who, in 1820, sold it on to Mr John Burgh Island last year will remember the wide range of Horsley Palmer, regarded as the greatest material, and characterisations that marked that performance. financial expert of his time, who later became This time we have a brilliant young theatre technician, Rob Governor of the Bank of England. He added a further Mills, on the production team. We can certainly look forward sixteen acres to the property, the condition of which to something which will far surpass that. was then described as dazzling!

The Hurlingham Suite

Page 8 on the Stage’ at London’s Hurlingham Club

Don’t Put Your Daughter on the Stage will not leave you wondering whether we should or should not be encouraging the theatrical trade - there is Palm Court and Orangery certainly no lack of talent among our members! We are particularly looking forward to OPTI catching a glimpse of ONA L DIN Celia Cologne in the Me NE mber R • s may 9: persona of Mrs. Wentworth- stay 00 will b on at pm Brewster, Elizabeth Donnelly as the First e serv the cl cour ed in ub for Gl se the P Dinn anguished diva Louisa, Martin Amherst Lock azed alm C er, wh P Fig, R ourt a ich delivering a Noël-ish “finger-wagging”, and Clive Montellier inen icott rea. ut Sal a, Ba promoting the very British values of the aristocracy and the Air ad, W yonne alnut Ham Ma Oil D & To Force. The Revue will also showcase the talents of some of in cou ressin asted Se rse g our more recent, younger members in a classic song-and-dance ared F C illet o number, and features a wide selection of verse extracts along harred f Red L Aspa Mull the way. obste ragus et, Ra r Bisq , Poac tte Po The first part of the evening will end with the Presentation ue, C hed L tatoes arrot ango , Pud & Pa ustine of the Scroll of Honour marking His Royal Highness, The ding rsnip , Wa Crisp Duke of Kent’s Presidency of the Society, which began in rm Le Cl mon a 2005, after the death of our former President, Sir John Mills, otted nd B Cream luebe Ice rry Pu CBE. We are delighted that Mr. Andrew Palmer, CMG, CVO Cream dding Tea, C with and his wife Davina have accepted our invitation to accept the offee & Hu scroll on behalf of the Duke, who will be in Australia at the rlingh The am c time. Mr. Palmer was Private Secretary to HRH the Duke and cost o hoco VA f the late m T and above ints Duchess of Kent, from 1988 – 90, on secondment from the Servi is £4 p ce ch 9.00 p Foreign and Commonwealth Office and when he retired from rice. arge. er pe There Wine rson, will is no inclu the FCO, in 1996, the Duke invited him back into his be a v t incl ding egeta uded Household as Extra Equerry. rian o in the ption. A ‘Vote of Thanks’ will conclude the first part of the evening. The cost of the above is £65 per person.

DO JOIN US , for what we hope will be a joyous and stylish occasion. (The entrance to the Hurlingham Club is in Ranelagh Gardens, London SW6. The nearest tube station is Putney Bridge and there is ample free and secure parking within the grounds. )

Page 9 Reprinted courtesy of OPERA NEWS an article on André Previn’s opera Brief Brief Encounter, Houston Grand Opera Encounter performed in May 2009 by Houston Grand Opera, suggested by Geoffrey Johnson n May 1, Houston Grand Opera gave the world debut, combined a large measure of deep-voiced Victorian premiere of Brief Encounter , a two-act opera primness with a hint of flirtatious playfulness as Myrtle Bagot, by composer André Previn and librettist John the railway shopkeeper; baritone Robert Orth, as ticket-checker Caird that tells the unhappy tale, set in the Albert Godby, Myrtle's love interest, complemented her refreshments shop of an English railway scrupulous respectability with playful working-class manners O and accent. As Laura's unwelcome train companion, Dolly station, of an illicit, ultimately doomed love affair. The source material for the opera is David Lean's 1945 film of the same Messiter, soprano Rebekah Camm, an HGO Studio alumna, name; the movie screenplay, by Noël Coward, is itself an prattled happily and obliviously, a properly strident contrast to the mellow, disconsolate Laura. A defining element of the story is the coming and going of the trains that first bring Laura and Alec together but then impose an unyielding schedule on their meetings. The shortness of the lovers' time together — and their keen awareness of its passing — were starkly emphasized by Bunny Christie's set design, first with a huge clock face on the downstage screen shown at the beginning of each act, then with eleven large clocks on the walls of the set itself. Likewise, chimes are the first sounds of the opera, and train noise in a bustling string motive recurs throughout to mark the end of each furtive meeting. What the opera offers that the movie cannot are musical Maquette of the set used in Brief Encounter explorations into the interior life of the characters. Laura's adaptation of Coward's 1936 one-act, Still Life . The overall cast to the opera's score is unreservedly sentimental, as befits a romance set in the 1930s, but inadvertently evokes mid- twentieth-century Broadway: the sweeping love motive heard intermittently throughout the opera always brought "Make Our Garden Grow" from Bernstein's Candide to mind. Previn and Caird (who also directed) created arias that effectively distill the interior agonies of the principal characters, but the opera is less stirring than Lean's film, if only because the music offers few challenges to the listener and the storyline remains close to

Kim Josephson and Elizabeth Futral soliloquy at the conclusion of Act I offers a dark, gripping portrayal of her remorse that is made all the more poignant by her recollection-recitation of her marriage vows on a single high pitch. Alec's monologue of anxious expectation while waiting for Laura, however, seemed more of a make-work solo for the part that falls flat dramatically: he agonizes over whether she will appear, and then she appears. Here, Previn and Caird mean to add depth to Alec, who is seen almost entirely through Laura's eyes in the movie. The more successful fleshing out is that of Fred's character. By giving him a scene of doubt and worry, Previn and Caird prepare Fred's later lines of gratitude at Laura's return and underscore Elizabeth Futral and Nathan Gunn the disastrous implications of her affair. that of the movie while taking longer to unfold. Ultimately, it is Laura's thoughts that we follow, and the The cast was uniformly good. Elizabeth Futral played opera ends with a haunting glimpse of her perspective: while Laura Jesson superbly: her rich, rounded singing was ideal for she is warmly and gratefully reconciled to her life with Fred, the part, creating a sympathetic portrait of an intelligent, singing with him in the foreground, she simultaneously sensitive woman, both lovely and pitiful in her predicament. remembers (hears) Alec, who sings in the background in Nathan Gunn lent his bright, focused baritone to the role of shadow. Nothing like this occurs in the movie, and that final Alec Harvey, evoking both a lover's impetuousness and the moment of irresolution between reconciliation and maturity of a middle-aged man. remembrance offers a memorable piece of theater in Previn's Baritone Kim Josephson sang with warm resonance as new opera. Gregory Barnett Laura's steadfast husband, Fred Jesson, who trusts and abides throughout. Contralto Meredith Arwady, making her HGO [PHOTOS: Felix Sanchez, Courtesy of Houston Grand Opera ] Page 10 Coward on the Coast: August 2009 The Antaeus Academy Presents comedy: no characters should ever know they are funny.”

“The Young Idea: The Next Generation Celebrates Events of the Coward Weekend Noël Coward!” Coward the Man and I Like America Coward the Man was the first event on Friday. About 30 people attended this half-hour talk by Kathy Williams, which combined biographical notes on Coward from Ken Starrett, along with quotes and visuals - images of the “Ten Chimneys/Star Quality” panels, provided by Sean Malone, plus some additional pictures of Coward, his family, and friends. Immediately following the talk was the first west-coast screening of I Like America , a 22-minute compilation of Coward’s “home movies” of the Americas. This video, created by John Knowles, was first seen in the U.S. last December when Ken Starrett presented it at the The Paley Center for Media in New York. I Like America was so well received that L to R: Raleigh Holmes (Hilda), Karianne Flaathen (Marion), a second screening was added on Sunday for members of the Joseph Delafield (John), Jocelyn Towne (Larita) and Ned Schmidtke (Col. Whittaker) Antaeus Company and audience who couldn't attend Friday's Supported by a grant from the Noël Coward Foundation, screening. All attendees received handouts: their own copies of and guided by The Antaeus Company’s Artistic Director, the special I Like America edition of Home Chat and the Jeanie Hackett, the Antaeus Academy embarked on The Young brochure from the Museum of Performance & Design with Idea Project with the particular goals of training young actors gorgeous photos and descriptions of the exhibit, Star Quality: in the technical skills required to play Coward’s characters, The World of Noël Coward . fostering love of Coward in young audiences, and providing mentors for young directors interested in The Master. Readings of the Plays Artistic Associate Cindy Marie Jenkins ([email protected]) was the coordinator for all events and activities leading up to and including their first weekend of presentations and workshops, The Young Idea: The Next Generation Celebrates Noël Coward! , which took place at the Deaf West Theatre in North Hollywood on June 26-28, 2009. The weekend included six workshops: a presentation on Coward the Man ; a remarkable Coward the Crooner coaching session; an exhibit on Coward the Spy ; movie screenings of Our Man in Havana , Brief Encounter , and John Knowles’s video, I Like America ; and a roundtable discussion on Coward the Playwright .

Intensives In preparation for the readings, Antaeus matched the plays with a Coward Mentor (Jonathan Lynn, Barry Creyton, and Art Manke) and an upcoming, young director (Douglas Clayton, Jessica Bard, and Kari Hayter). Each play had one day of For the readings of Hay Fever , Peace In Our Time , and intensive rehearsal/exploration led by the mentor, then two Easy Virtue , each cast was comprised primarily of Antaeus additional rehearsals with Academy actors, aged 20-30. Nine Antaeus Company members the young director and played “parental” roles, while 31 Academy and Young Guest actors before the staged Actors played the “child” leading roles and supporting cast. reading. Each intensive Quoting Cindy Marie Jenkins on the young-adult thread covered general technique that connects the three plays: “Each play in The Young Idea and skills (such as dialect), Project hinges on one specific conflict: how can young then focused on its specific people’s ideals evolve and prosper when they are caught in the Coward play. very world which suffocates their parents?” We see the results Jonathan Lynn and Douglas Clayton. Mentor Jonathan Lynn of late-adolescent children acting out against the wishes and commented on the process of the intensive for Hay Fever : “We behaviors of their parents, or in the case of Peace in Our Time , sat around the table and worked meticulously through the play, deceiving them to save all their lives. All the readings were stopping to consider what Coward might have intended with extremely well-presented. every moment and looking to find the comic rather than the Artistic Director Jeanie Hackett expressed the hope that dramatic choice.” When asked, “Do you have any advice for Antaeus will be able to expand The Young Idea Project, and the actors in this reading before they embark on their own?”, take one of the three plays to the next levels: a workshop Lynn replied, “The same advice I have for all actors in a production, followed by a full production in the next season.

Page 11 Hay Fever dated. Alternatively, many just wanted to see his early, funny Director Douglas Clayton evoked a beautiful and hilarious works. reading of this Coward favorite. In a post-show conversation, More than half a century later, it may seem unlikely for a young Californian actors talked about being taught about the young American cast to have a deep understanding of the play’s themes; however, the young actors’ informed reading is grounded in the fact that they have grown up during a seemingly unending war, cursed in the last eight years with the banal and stupefying evil of torture condoned by our own government. Based on conversations at post-show events, this play resonated deeply for young audience members, many of whom had never heard of Coward before the weekend and were quite vague about World War II. Amazing performances by all concerned. Director: Jessica Bard • Mentor: Barry Creyton Cast: Antaeus Company: Josh Clark [Fred Shattock], Lily Knight [Nora Shattock], Melinda Peterson [Mrs. Massiter], Phil Proctor [Mr. Grainger], Sally Smythe [Mrs. Grainger]; Antaeus Academy & Guests: Josh Ansley [ensemble], Eric Adeye Sahran as Myra and Gabriel Diani as Simon Bliss. Bloom [Alfie Blake], Kendra Chell [Janet Braid], Brett play’s central metaphor, which represents sanity, stability, and Colbeth [Stevie], Etta Devine [Alma Broughton], Danielle civilized behavior: the importance of tea. Doyen [Gladys Mott], Drew Doyle [Doctor Venning], Karianne Director: Douglas Clayton • Mentor: Jonathan Lynn Flaathen [Lily Blake], Jeff Gardner [George Bourne], Cast: Antaeus Company: Christina Pickles [Judith Bliss], Alexandra Goodman [Doris Shattock], Aaron Lyons [Richter], Robert Pine [David Bliss]. Antaeus Academy and Guests: Kellie Matteson [Lyia Vivian], Mark Moore [Chorley Brooke Bastinelli [Jackie Coryton], Etta Divine [Clara], Gabe Bannister], John O’Brien [Billy Grainger], Maria Pallas Diani [Simon Bliss], Drew Doyle [Richard Greatham], [Phyllis Mere]. Whitney Hudson [Stage Directions]. Whitney Hudson [Stage Directions], Annie Melchor [Sorel Bliss], Adam Meyer [Sandy Tyrell] & Adeye Sahran [Myra]. Easy Virtue A challenging play to sell to a modern audience - especially Peace in Our Time one that had potentially seen the movie based on this play and In what was very likely a U.S. Premiere, Peace in Our Time might be anticipating broad comedy with an American Girl as was quite moving, and, atypical of Coward’s plays, delved the lead. A melodrama with some comedic turns, Easy Virtue sharply into political matters. A number of older audience was in several ways the most ambitious of the three readings, members were heard commenting on how you would not think as evidenced by its use of more scenery and staging. this was a “Coward play” if you didn’t read his name in the From young director, Kari Hayter: “As a director, I had to programme. Although grim and gritty, Peace in Our Time decide what was the most effective way to tell this story. It was presents the triumph of solidarity, courage, humor, and my goal to guide the actors through the text in an academic determination over propaganda, brutality, terrorist tactics, and setting AND a theatrical setting in order to have the most military force. effective understanding of the play in such a short amount of When asked about her decision to place the central time.” Dramaturgy Intern Monet Hurst-Mendoza prepared a character, Fred Shattock, at the edge of the stage, young 34-page “Dramaturgical Actor Packet” to assist Hayter in the director Jessica Bard commented on the importance of him visually grounding the action. Characters come and go (mainly

The cast of Easy Virtue educational process for the young actors. Congratulations to Brooke Bastinelli and Jessica Bard director, actors, and staff for a commendable job! center stage), but Fred’s staunch presence in even his most Director: Kari Hayter • Mentor: Art Manke vulnerable moments proclaims: “London Pride!” Cast: Rhonda Aldrich [Mrs. Whittaker], Ned Schmidtke In 1947 when Peace in Our Time was first produced in [Colonel Whittaker], Brett Colbeth [Furber, H. Petworth], Joe London, it opened to a dismal reception — English audiences Delafield [John], Wyatt Fenner [Bobby Coleman], Karianne were war weary, and critics and audiences alike had a mindset Flaathen [Marion], Amy Hendrickson [Nina Vansittart], of Coward as the icon of the 1920-30’s, old fashioned, and Raleigh Holmes [Hilda], Aaron Lyons [Charles Burleigh], John Page 12 O’Brien [Philip Borden], Jason Thomas [Henry Furley], Coward the Playwright: Roundtable discussion led by Jeanie Jocelyn Towne [Larita Whittaker], Rebekah Tripp [Sarah Hackett. Hurst], and Nicol Zanzarella –Giacalone [ensemble/Stage Antaeus actors came together with directors and audience Directions]. members for an exchange of ideas on Coward's themes, world- view, and acting style. Among the topics covered: participants Workshops and Roundtables described best (and worst) productions they had seen of Coward’s plays, and what made them good or bad. Several Acting a Noël Coward Song young audience members mentioned that they had never heard This gem of a workshop, taught by Harry Groener and Nike of Coward before the weekend, came to the theatre because of Doukas (with additional coaching by Jeanie Hackett), educated not only the participants but also the very fortunate audience. One particularly bright moment: Harry teaching two Academy actors a bit for “Mad Dogs and Englishmen” — head bent back, face to the sky, to add a very dog-like bark at just the right moment. Urged on by the insistent crowd, Harry brought the audience to its knees with his performance of “Mrs. Worthington” as a curtain call at the end of the workshop. A post-script was a sing-along - introduced as “how the Coward Society ends all its gatherings” - of "I'll See You Again".

Coward the Spy: Screening of Our Man in Havana and an exhibit on Coward’s work in World War II. The preamble to Peace in Our Time , this informal workshop presented both serious and humorous background information on Coward’s work in films and during WWII. a friend (or a friend of a friend in the cast), and were amazed Coward on Film: Screening: Brief Encounter and I Like and captivated by what they experience. America . On the World Wide Web In addition to all that happened at the Deaf West Theatre, Antaeus has published news of The Young Idea Project on the web: you may find it in cyberspace from Facebook to Twitter to YouTube. For many more details, including interviews with the mentors, blogs, photos, and videos, see: http://antaeuscompany.wordpress.com/ http://www.facebook.com/AntaeusTheater One particularly hilarious, unplanned improvisational work resulted when Academy actor Abby Wilde was not cast for any of the three readings. She developed her own idea, which you may view on Antaeus’s Facebook page or directly on YouTube as a multi-part series, including Abby’s Wilde Idea: Part 1 . Noël Coward The Man , plus Antaeus Strikes Back .

L to R: Anne Gee Byrd, Kitty Swink and Jeanie Hackett Kathy Williams

A TALENT TO AMUSE - My thanks to everyone who has been in touch with offers of help to get Noël Coward’s 70th Birthday Celebration show, held at the Phoenix Theatre on December 16th, 1969, released as a CD. Stephen Greenman has kindly agreed to receive any sponsorship money from members who wish to sponsor the CD. All payments should be sent to Stephen Greenman. If sending a cheque, amounts should be made out to, ‘The Noël Coward Society’ with the words ‘A Talent to Amuse CD Sponsorship,’ on the back of the cheque. Payments may also be made by credit card (UK and US) or debit card (UK only) via email or post (see Sponsor Form for Stephen Greenman’s contact details). All other queries to John Knowles please. Sponsors may have a track from the CD (see track listing in the last Home Chat) dedicated to themselves or to someone they nominate, together with a short message. I am also offering a copy of Present Indicative - that remains from the auction of the Coward collection of the late Stephen Marshall - as a draw prize for all of those who sponsor the CD. It is an American 1st edition with some wrinkling in the external surface of the coverboards - there is no dustjacket. It is signed on the title page, “ For Stephen Marshall - Noël Coward ,” There is a small additional inscription in another hand on the flysheet “Hollywood February 1964.” A draw ticket in your name will be entered in the draw for each sponsorship amount of £20 - so a sponsorship amount of £100 will entitle the sponsor to 5 draw tickets. The draw will take place on September 1st 2009 and the resulting sponsorship amount raised will be published in the October Home Chat. Details of the winner will not be published. Why not contribute to the realisation of a historic recording and have the chance to win a signed copy of Noël Coward’s first autobiography. A sponsorship form is included in this edition of Home Chat. John Knowles

Page 13 The story concludes of the Actors’Orphanage from the memories of Granville Bantock who attended the orphanage at Langley Hall and LUCKY ORPHAN Silverlands and during its evacuation to America in World War II. n the last edition of Home Chat the story was poised at sea. I felt terrible and went back to my cabin where I stayed all the point when Granville was reluctantly leaving the day. Three weeks of this would surely kill me, I thought. protection of the Actors’ Orphanage in its evacuation The third day was a little better; clear skies and a calm sea, home in New York to head back to England with the shared now by two other ships. We were travelling slightly uncertainty of a wartime Atlantic-crossing facing him. faster and I managed to eat a breakfast of scrambled eggs, TIhe story continues: keeping them down with a struggle. The Chief was all smiles, The ship slipped her moorings and proceeded down river to as usual, and he told us not to worry saying the ship was far too the sea. Slowly the New York skyline disappeared as I fought small to be hit by a torpedo, and too fast as well. back the tears . It was October 4th 1942, two years to the day “Fast?” said John, “we are only crawling along.” since the Actors’ Orphanage children landed in Canada and “Just wait for a couple of days, and then you will see now, once again, 3000 miles of very hostile Atlantic ocean lay otherwise,” replied the Chief. ahead. I loved America. Thank you, Uncle Sam. By evening the seas were quite big and I decided to try MV Thorstrand was a very small German-owned ship some dinner. A special thick soup had been made for the which had happened to be in a Norwegian port when the passengers, but the Chief and the officers stuck to pickled fish; Germans invaded the country; it was immediately watching them eat turned me green. commandeered and sailed to England by a Norwegian crew. The sea crashing against the ship woke me up the next day Extra fuel tanks were fitted to enable it to cross the Atlantic when dawn was peeping through the porthole, but looking out and thus far during the war it had made some twenty crossings. all I could see was the sky, then sea, then sky, then sea. I The cargo holds were refrigerated as its original design was for struggled on deck before breakfast; there were many ships now carrying fish from Norway to Germany. It was fast being able and U.S. Navy Catalina flying boats overhead. I thought I to sustain a speed of eighteen knots. would get used to the rolling and pitching, but there was no New York had disappeared over the horizon, the night was chance for the ship had once again reduced speed. I returned to clear and the sea was calm but the ship was rolling the cabin after a cup of tea and a slice of toast. nevertheless. What, I wondered, would it be like when the sea There were many more ships on the fourth day, the nearest was rough? I had my own small cabin with wash basin which being a big merchantman - we were now in a convoy. At was to prove invaluable later in the journey. At about seven breakfast the Chief was beaming as usual. o’clock I went up to the small dining room and found just one “It’s bye-bye today,” he said, but did not elaborate. place left on the single table, next to the chief engineer who sat Shortly, however, the captain signalled the next at the top. Altogether there were ten around the table, the three merchantman after which our engines went to full speed. passengers eating with the ship’s officers. The captain did not Thorstrand turned south into the sun, leaving the convoy to join us at any time , instead he remained on the bridge or in his disappear over the horizon. Ships were not compelled to travel quarters nearby. The evening meal - and almost every in convoys, which always went at the speed of the slowest following meal - consisted of soused fish of some kind. There ship, and the one we had left was travelling at seven knots. We, were bowls of the stuff. The chief engineer, a large jovial man on the other hand, were now at our full speed of eighteen who spoke reasonable English, would crunch up these knots; no torpedo could possibly hit us unless by sheer fluke, rollmops as a hedgehog crunches slugs. The very thought of but if just one did get through we would have been blown to soused herring would turn my stomach even on dry land, but smithereens. when confronted with mounds of them on a rolling ship, that The next thirty-six hours were sheer hell - where oh where was definitely it: I had to return to my cabin. The chief was that torpedo? engineer was a little concerned and he sent a young officer to Eventually the storm abated and noticing that the ship had see me who, when I explained the problem, went to the galley slowed I went on deck. The sun was out and the sea more calm. and fetched me some bread, cheese and a glass of milk. I There was a lot of wreckage about and two lifeboats amongst climbed on the bunk and cried; this was the start of a it. The captain checked them for survivors but they were both nightmare. Just five weeks before there had been marvellous empty. Mounted on the stern of the Thorstrand was a three-inch hospitality on the Canby farm, and now, utter depression. calibre gun for defence against U-boats on the surface. When For the past twelve years the Actors’ Orphanage had been the floundering lifeboat was six hundred yards astern, the my ‘other’ home, so was this the end or would we meet up gunner decided to use it for target practice. Even at that range again some time in the future? I was the first of the evacuees to he made a direct hit. This was encouraging but as all merchant be returning to England. The next morning dawned grey with a ships now carried a gun U-boats seldom surfaced to make their choppy sea; the ship was travelling very slowly and rolling all attack. over the place. I went up for breakfast and managed a cup of I managed a little food before the next storm off the Irish tea with half a slice of bread and jam. The jovial chief engineer coast sent me back to my cabin again, but Liverpool was not was sitting in his usual spot at the top of the table. John and far away and land was already visible through the porthole. By Betty, the other two passengers, were not looking too good evening the ship had docked and it was bliss to be perfectly which, for some reason, made me feel a little better for still once more - for the first time in fifteen days - but I had lost knowing they were suffering too. ten pounds in weight. It was the worst period in my life so far, “Why are we travelling so slowly?” John asked the Chief. and even today, when a jar of pickled herrings is seen the “So that we can rendezvous with the convoy,” he replied, picture of a large jovial Norwegian engineer comes to my with a huge smile. mind. I went on deck but could see no other ships, just the grey The convoy we had left behind some nine days earlier had suffered terribly; torpedo attacks had sunk many ships with Page 14 much loss of life. It was a horrible, tragic period of the Atlantic good stead. war and I was later saddened to learn that M.V. Thorstrand was Soon after arriving home I made an appointment to see the torpedoed and sunk with the loss of four lives in 1943. Actors’ Orphanage dentist at Chertsey. He thought the After passing through customs at Liverpool and three train American dentist had been very hasty in extracting my front journeys I arrived at Twickenham. there were no taxis but teeth for the sake of cosmetic effect. He made me a very small Charlie was there with his barrow, so, with my cases loaded, dental plate which was most comfortable to wear but without we walked to the bungalow and home. It was 20 October 1942. clips it needed a lot of willpower to keep it in place.While I My mother knew I had left New York and guessed I would was in Chertsey I toured the area on my bike including a visit arrive any day - she was so excited. It was now back to the to Silverlands, finding that neither the building nor the ground blackout, food rationing and the occasional bomb; I was had changed since 54 children had left for America two years shocked to see so much damage from the blitz. Two houses just earlier. There were no children playing around now, however fifty yards from the bungalow had been flattened and the one as the building was being used for quartering nurses employed immediately next door had been hit by incendiary bombs. My at nearby Botley’s hospital (now called St. Peter’s). The head mother was concerned to see me so thin for she could have no gardener, Bert Hazel, still lived in the bungalow near the main idea what I had just been through. “We’ll soon fatten you up,” gate; he and his wife were very pleased to see me and we she said. But I thought that might be difficult with food chatted for some time over tea and toast. They were fostering rationed as it was. some young children on behalf of the Actors’ Orphanage who I was pleased to be back home but I missed Jane and the still owned the property. Mrs. Hazel was a kindly person and a other girls. It might, I thought be difficult to get established in natural mother but she had four children of her own so the a social situation again, having been away for so long. It was small bungalow was bulging with youngsters of all ages. She the first time I had lived at home since the age of 4 and now I managed admirably though, and I kept in touch with her for was three months from my seventeenth birthday. Uncle many years. Granville’s radio gramophone still worked and the records Just before Christmas, Miss Rodda asked me to attend a were intact. The radio was marvellous; there were no adverts, meeting of the committee members at the office in Maiden just hours of real uninterrupted music including of course, Lane, London. There were six ladies present and it felt a little Beethoven. After a good service my bike was back on the road, overwhelming, feeling that I was being grilled about rumours my first journey to visit my cousin Gladys and her children in that the children were misbehaving . I insisted that there was Shepperton. They were all fine but very worried for Donald no cause for concern as all the children were growing up and who was fighting the Germans in North Africa. My mother behaving normally. I told the committee that the older girls, wanted me to start school as soon as possible, but first I had to who were now nearly eighteen, had moved from the deliver Mr. Griffin’s large brown envelope to the secretary of dormitories into rooms of their own in the main building of the the Actors’ Orphanage. I resisted the temptation to steam it Foundation. What, I wondered did the committee mean by ‘bad open first. The secretary, now a Miss Rodda, was very pleased behaviour?’ to see me and wanted me to meet the committee at their next Certainly the girls were causing no problems but perhaps meeting. Being the first of the children to return to England the Edwin Gould Foundation was becoming fed up with there would be many questions they would ask. housing some 54 English orphans who, after two years, It so happened that our neighbour taught French at a nearby showed no sign of going home. Perhaps the Foundation feared grammar school and he kindly arranged for me to meet the being lumbered with them until the war was over? Miss Rodda headmaster. Tests were prepared for me, but it was soon expressed concern that a number of children had stopped obvious that I had nowhere reached the standard attained by writing home, causing anxiety for their parents. other boys of my age. The head was unable to accommodate I suggested that any parent wishing to telephone me for me and he suggested a matriculation course at an evening information about their child should do so, or if they preferred, institute. I enrolled for classes in Richmond and started I would meet them. A number of them did telephone and I was immediately, but after just one week it was obvious that able to set their minds at rest. Over the following three years catching up with the other students would be impossible. several of the older boys and girls drifted back home to One of the other students, Molly, was also finding things England, but most of the younger ones were to remain at the difficult. We were the same age but she was exceptionally Foundation until the European war finished in May 1945. By mature; we became friends for a while. After the class I would attending this meeting in 1942, my bond with the orphanage take her home on the crossbar of my bike searching for the finally broke, but I did see many of the children over the next little gear in the ample folds of her bottom adding to the fun. few years and I was able to make one final visit to the London We would kiss goodnight, but it was never anything passionate. home in 1945. I never did find out what Mr. Griffin’s brown My now knowing how far to go disappointed her and the envelope contained - a report on each and every one of us, relationship fizzled out in the New Year. perhaps? Granville Bantock By February it was obvious that my continuing with the classes would waste the teacher’s time and the evening institute became a thing of the past. At the same time that I had started the classes, I found a job in a factory about five miles away. The firm specialised in the manufacture of filters for all types of liquids, but one of its major contracts was for the construction of filters for army water tanks. I was employed as a lab boy, washing up beakers and conducting routine tests on Fullers Earth - the filtering medium. I progressed right through the factory, spending time in all the workshops as well as the drawing office. My year with the company was to stand me in Lost at sea at 19:17 on 6 March 1943 Page 15 Details of some productions, publications and events Home Chat is the newsletter of WHAT’S ON ? see www.noëlcoward.net and www.noëlcoward.com for more. . . The Noël Coward Society, which is The Essential Noël Coward Compendium generously funded by The Noël Coward Foundation Noël Coward was a prolific entertainer with over fifty plays and musicals, songs, verse, two and a half volumes of autobiography, Officers of the Society are: books of quotations, a novel, diaries, and letters to his name. For Chairman: Barbara Longford fans and newcomers to Coward's work, this compendium Secretary: Denys Robinson represents the very best of Noël Coward in one entertaining Treasurer: Stephen Greenman volume - with extracts from the best scenes from his plays, and North American Director: screenplays, songs, poems, and a entire short story. Brief extracts Ken Starrett are also included from his autobiography, diaries and letters, US West Coast Liaison: Kathy Williams caricature drawings, photographs, anecdotes and trivia. If you Representative for Australia: only buy one book on Noël Coward, this book represents an Robert Wickham excellent tasting menu for those who want to sample the full Representative for France: flavour of Coward. Hélène Catsiapis This edition is due out in the UK only on September 2009 • Unless otherwise stated all ISBN 978-14081-08697 Full Price: £16.99. images and text are copyright It is hoped to release the book in the US in the Fall of 2010 . to NC Aventales AG

Please send all correspondence Dick Hyman Plays Weill, Duke, and Coward to: Inner City Records has announced the re-release of three albums by Dick Hyman. Never before The Editors, available on CD and quite rare even on vinyl. These are solo 29 Waldemar Avenue, recordings, and demonstrate an inventive, ingenious and playful Hellesdon, Norwich, take on the great composers of the twentieth century. For Coward NR6 6TB, UK fans there is the one reissue of note: Mad About the Boy - The [email protected] Tel: +44 (0)1603 486 188 Music of Noël Coward. This album features 15 songs, including “A Room With A View,” “Twentieth Century Blues," and “Dance, Editors: Little Lady.” This recording garnered a personal postcard from John Knowles (UK) and Coward to the performer, calling these takes “delightful.” When Ken Starrett (US) these recordings were made in the early '50s, they were intended Design and Production: to be part of a larger set, featuring the music of the twentieth John Knowles century's greatest writers of popular song. Available online at: Publication and Distribution: http://www.musicminusone.com at $16.95 and by order from Stephen Greenman record stores. Dominic Vlasto is hoping to provide a review of this Music Correspondent: Dominic Vlasto re-release in a future edition of Home Chat. Contributions are invited from Roundabout's Broadway Revival of Present Laughter members of the Society. American Airlines Theatre on January 2, with an official opening planned for January 21. The editor reserves the right The Roundabout Theatre Company's production of Noël Coward's Present Laughter, to edit all copy, images and decide on inclusion of items. starring Victor Garber and directed by Nicholas Martin Details included in The play focuses on Garry Essendine (Garber), a matinee idol whose life is turned upside ‘What’s On?’ are as received, down as he struggles to plan a trip to Africa. Garber and Martin previously worked on a with our thanks, from: production of the play for the Huntington Theatre Company in Boston. Samuel French Garber's stage credits include Sweeney Todd, Art, Arcadia, Damn Yankees, Assassins, A Little (Play Publishers and Author’s Night Music, and Little Me. His many film and television credits include Alias, Eli Stone, Representatives), Legally Blonde, and Titanic. Ken Starrett (US), Alan Brodie Representation (Professional Productions), Tonight at 8.30 - The Shaw Festival, Ontario NCS members and Current to November 1st, 2009 - Ontario’s Shaw Festival is presenting all 10 plays that make theatre companies. up Noel Coward’s “Tonight at 8:30” series, including the rarely produced Star Chamber . It will mark the first time that all of the plays have been produced in repertory by a professional company since their London debut at the Phoenix Theater in the 1935-36 season. The plays will For details of rights for be presented in three groups, one at each of the Festival’s three theatres, and on two occasions professional productions: www.alanbrodie.com all 10 can be seen on a single day, in an event christened, Mad Dogs and Englishmen . For amateur productions Web: http://www.shawfest.com www.samuelfrench.com or www.samuelfrench- THE NOËL COWARD SOCIETY WELCOMES NEW MEMBERS! london.co.uk For publishing rights: If you would like to join the Society please contact: www.methuen.co.uk Stephen Duckham: [email protected] Tel: 02476 229502 For music rights: In North America contact Ken Starrett: [email protected] Tel: 00 1 212 877 4259 www.warnerchappell.co.uk