SEPTEMBER 2001 THE NEWSLETIER OF THE NOEL COWARD SOCIETY West End for Another Noel Coward Double? Private Lives with Alan Rickman and Star Quality heads for London with Lindsay Duncan leading lights Penelope Keith and Una Stubbs Watch this space/or a Society outing to this event! Director: Christopher Luscombe. A new stage adaptation of the short story written by Noel Cowardfeaturing two leading Director: Howard Davies lights of the stage and screen, Penelope Keith and Una Stubbs, Cast: Alan Rickman, Lindsay Duncan, Emma Fielding, arriving in the West End at the end of October. The caustic Adam Godley. comedy takes a behind-the-scenes look at 'theatreland' and its Alan Rickman and Lindsay Duncan star together in Coward's various characters, as personalities and egos clash during re- comedy of manners in which estranged divorcees Elyot and hearsals for a London production. Penelope Keith, who Amanda are reunited and fall in love again. Rickman, last charmed television audiences with her portrayal of the outspo- seen on the London stage in the National's 1998 production ken, Surbiton house-wife Margo Ledbetter in The Good Life, of Antony and Cleopatra, and Duncan, whose recently re- adds to an already long list of stage credits which includes an prised her role in the Royal Court's production of Kevin Olivier Award for Comedy Performer of the Year in 1976 in Elyot's Mouth to Mouth which transferred to the West End, Michael Frayn's Donkey's Years at the Globe, and a recent are joined on stage by Emma Fielding. appearance at this year's Covent Garden Festival as Elizabeth The Award-winning Howard Davies, who brought Duncan I in The Regina Monologues. Una Stubbs, who put her consid- and Rickman together in the RSC's Les Liaisons Danger- erable comic talents to good use as Aunt Sally in the children's euses, directs. Noel Coward himself played Elyot when it classic Worzel Gummidge (a part which she later reprised for =- was flrst-performedin492~;-epposit~Gertmde£awrenee-a the-stage :veISien-at.th~e_'_Theatre-)~dRi~ Amanda. BBC television series 'Til Death Us Do Part, has also enjoyed Theatre: Albery, St Martin's Lane London WC2N 4AH a successful stage career which includes roles in Oscar Box Office: 020 7369 1740 Wilde's An Ideal Husband at the Royal Exchange in Manches- Times: Tue-Sat 8.00, Mats Sat 3.00, Sun 4.00 ter and Shakespeare's As You Like It at the Lyric Hammer- Prices: £12-£35 Previews From: 21st September 2001 smith last year. The show, which began a regional tour on Opening Night: 4th October 200 I Aug 20 at the Yvonne Arnaud Theatre in Guildford, opens in Booking Until Date: 8th January 2002 London on Oct 29. The venue is yet to be confirmed, A member writes ... Ace of Clubs ... in the June edition of the Kent Federation of Amenity Ace of Clubs is now available for amateur Societies there is a reference to a letter from Noel Coward in production. If you are interested in knowing the Deal Society's Archives - as follows: more or looking at some of the material you should contact Warner Chappell direct "Thoughts of a protection society for Deal started in 1947. A new book of Noel Coward's Music has been A letter written by Dr Boulden to the Times in 1964 ... published by Warner Chappell entitled: "Noel refers to a letter dated 17 September 1947 from Sir Patrick Coward Rediscovered" it contains piano, vocal Abercrombie, James Bateman, Noel Coward, Douglas and chord parts for 48 songs. Goldring, John Ireland, lM.Knowles, Charles Vyse and Nathanial Gubbins protesting about a development scheme You will be sorry to hear which ' will involve the destruction of this very lovely old ... that due to illness Gareth Pike has been forced to resign town.' from his role as Secretary to the Society. We hope that when he is fully recovered he will remain as an active member of the In his letter Dr Boulden mentions that the Times helped Society's Committee. Gareth's work in establishing the save Deal from the attention of the planners in 1947. The Society and being its prime administrator and organiser of demolition of Middle Street and a large section opposite the events and activities will be sorely missed: Our very best pier was on the cards, but luckily there was such an outcry wishes and thanks go to him for his hard work on our behalf . ... that nothing happened - Deal Council were just biding In the interim John Knowles will be our Acting Secretary. their time." Page I 'A Talent to Amuse' interesting. The wit is inherent. It is the pace of the words bouncing back and forward between the two characters or which makes the lines funny. Performing the works of Noel Coward by one of our members - Sallyann Wilson One of Noel's gifts as an actor was an ability to hold the au- dience with a pause. Timing is everything with Coward, as In his diaries (September 1956) Noel Coward mused, indeed it is with all comedy. When Margaret Lockwood took over the role of 'Amanda' in "Private Lives" he com- "1 wonder why it is that my plays are such traps ... mented, "...she cannot act comedy." The ability to pace a Nobody seems capable of leaving well enough alone scene and use pauses, as well as rapid exchanges of dia- and allowing the words to take care of themselves. logue, is crucial in playing Coward. In some plays he scripts Neither my lyrics nor my dialogue require decora- lengthy pauses during scenes, but many actors and directors tion; all they do require are clarity, diction and in- are afraid of silence on stage. tention and a minimum of gesture and business. " When performing Coward, another major fault is the ten- Read any of Noel Coward's comments about actors per- dency to 'mug' to the audience. It's as if the actor feels com- forming his works, and one concern continually arises; the pelled to indicate, "This is a funny bit!" It was her tendency fear that they shall 'over play'. Referring to John Gielgud in to 'play up' to the audience that irritated Coward when Mar- "Present Laughter" Noel wrote, " ... his comedy is a bit garet Rutherford played 'Madame Arcarti' in "Blithe Spirit." heavy handed." He preferred Mildred Natwick's portrayal, which he de- scribed as " ... subtle and hilariously funny without ever be- It is lightness of delivery that distinguishes the Coward style ing in the least grotesque. " more than anything else. Yet so many actors feel the need to force the lines, under the misapprehension that the audience There is also a tendency for the performers to maintain a will only 'get' the gag if they are hit about the head with it. slightly manic level of delivery in an effort to appear Coward was a master at understating a line or gag. This is 'funny'. True, Coward delighted in writing eccentrics, but one of the great secrets to performing his work successfully. they need to be performed with sincerity, rather than carica- tured! Perhaps it's a lack of confidence that leads so many In Coward's era, word play was an integral part of life. actors to 'ham up' what they perceive to be comic roles. Think of the 'word game' scene in "Hay Fever." Although Trust Coward! He knew better than anyone, what would or exaggerated, this is the style of entertainment Coward's con- wouldn't work. He hated what he called 'ranting perform- temporaries would have indulged in, during weekend house ances' and once likened poor Ralph Richardson's acting to parties. Today we have, to a large extent, lost this ability to " ... a mad bull terrier." In 1953, he was appalled to see, in use and manipulate language. The average person's vocabu- 'Quadrille', "The real horror was Alfred (Luntrwho ...- lary is less extensive than that of his counterpart in the wriggled and camped about ... it is so depressing." 1920s and 30s. So it is not surprising that even actors, whose stock in trade is language, have less facility with the quick- Posture, movement and gesture are an equally important part witted repartee for which Coward was notorious. of the Coward style. We are less mannered than Society of seventy years ago. Coward's plays are, however, period To perform the dialogue in Coward's plays one must delight pieces. Body language is vitally important in conveying the in the use of the language and the rhythm of the words. The stance of the Riviera playboy, the languid ease of the lines must flow lightly, quickly and without hesitation. It is wealthy society woman, the coquettish movements of a impossible, I believe, to play the famous balcony scene from young flapper. Coward's plays give actors a wonderful op- Act 1 of "Private Lives" in any other way than the way portunity to portray a character through more than mere Coward and Gertrude Lawrence first performed it. It's not a words. The movement must be natural though; even his dar- case of 'copying' their delivery, it's a case of the lines hav- ling Gertie didn't escape criticism. Watching the 1947 re- ing a rhythm and flow all their own. Needless to say, perfect vival of "Tonight at 8.30" Coward commented she was" ... diction is imperative. enchanting but inclined to be piss-elegant." Amanda Coward was one a handful of writers who also acted and What have you been doing lately? During these last years? directed, equally well.