McGuire Proscenium Stage / Nov 25 – Jan 14, 2017

Blithe Spirit by NOËL COWARD directed by DAVID IVERS PLAY GUIDE Inside

THE PLAY Synopsis • 3 Characters and Setting • 4 Inspiration for Blithe Spirit • 5 Coward’s Comedy: Still Laughing After 75 Years • 6,7 Responses to Blithe Spirit • 8 The Martini • 9

THE PLAYWRIGHT On Noël Coward • 10 Coward’s Plays • 11 Coward Described By Those Who Knew Him • 12

ADDITIONAL INFORMATION For Further Reading and Understanding • 13

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Guthrie Theater Play Guide Copyright 2017

DRAMATURG Carla Steen GRAPHIC DESIGNER Akemi Graves CONTRIBUTORS Carla Steen and Gina Musto

Guthrie Theater, 818 South 2nd Street, Minneapolis, MN 55415 All rights reserved. With the exception of classroom use by teachers and individual personal use, no part of this Play Guide ADMINISTRATION 612.225.6000 may be reproduced in any form or by any means, electronic BOX OFFICE 612.377.2224 or 1.877.44.STAGE TOLL-FREE or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in guthrietheater.org • Joseph Haj, artistic director writing from the publishers. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers.

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Synopsis

As preparation for a new novel, He quickly brings the evening to an becomes too-tight quarters for the writer Charles Condomine and his end and ushers his guests out the carefree Elvira, controlling Ruth, wife Ruth have invited their friends door, only to discover that his first and Charles, caught between the the Bradmans over to participate wife, Elvira, who died seven years two. A series of accidents raises in a séance conducted by Madame ago, has materialized in his living Ruth’s suspicions about Elvira’s Arcati, a new arrival to their village. room. But as she can only be seen intentions toward Charles, and Bracing themselves with a healthy by Charles, her presence causes indeed Elvira takes a decisive dose of skepticism, they chat a great deal of chaos between action that changes everything. with the eccentric Madame Arcati Charles and Ruth. After Charles is Madame Arcati is called in once before dinner, then get down to finally able to convince Ruth that again to see if she can put all to business later that evening. When Elvira has indeed returned from the rights. Madame Arcati makes contact with dead, Ruth seeks Madame Arcati’s her spiritual control Daphne, they help in getting rid of the first Mrs. learn that someone from the Other Condomine. But, alas, Madame

Side would like to communicate Arcati doesn’t know how that Amy Warner, Heidi Armbruster, Sally Wingert, Quinn Mattfeld and Bob Davis. with Charles, and soon Charles can be achieved. The Condomine Photo by Dan Norman. hears a voice that no one else does. house is thrown into an uproar and

GUTHRIE THEATER \ 3 THE PLAY

Characters and Setting

SETTING The Condomines’ house in Kent, England, over the course of a few days.

Act I

Scene 1: Charles Condomine, Mrs. Bradman, 8:00 on a summer evening an author friend of the Condomines Scene 2: Later that night after dinner

15-minute intermission

Act II

Scene 1: 9:30 the next morning

Scene 2: The following afternoon Ruth Condomine, Madame Arcati, his wife a medium Scene 3: An evening several days later

Pause

Act III

Scene 1: An evening a few more days on

Scene 2: Early the following morning Edith, Elvira, their maid Charles’ first wife

Dr. Bradman, friend of the Condomines

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Inspiration for Blithe Spirit by Carla Steen Production Dramaturg

Shortly before Noël Coward wrote to seven each afternoon. On Friday record that would not be broken Blithe Spirit, during World War II, evening, May the 9th, the play was for years on any London stage. London suffered heavy bombing finished and, disdaining archness by the German air force, leaving and false modesty, I will admit that “I must say,” he wrote in 1964,” with parts of the city in rubble and I knew it was witty, I knew it was what will seem to be a refreshing dust, including Coward’s own well constructed and I also knew gust of modesty, that in my opinion apartment. Responding to this, that it would be a success.” I have never achieved the perfect Coward retreated with a friend to play that I have always longed, Port Meirion in Wales to write. He Given the bleak times in London, and will always long, to write – decided that he would write a play some critics grumbled that its but I shall ever be grateful for the to provide a merry diversion for his subject was inappropriately morbid almost psychic gift that enabled compatriots in these gloomy days. for a country at war. Coward me to write “Blithe Spirit” in [six] He took an idea about ghosts he dismissed the accusations that his days during one of the darkest had been batting about and quickly play was too gloomy: “There’s no years of the war.” Coward felt that wrote Blithe Spirit, barely changing question of that, because there’s what the British people needed a word after that. no heart in the play. You can’t was a distraction from the war, a sympathize with any of them. If celebration of British life, and a “I fixed the paper into the machine there was a heart, it would be a reason to continue to fight for that and started: Blithe Spirit. A Light sad story.” Apparently Coward’s life. And that’s what he delivered in Comedy in Three Acts,” he wrote light touch on serious matters Blithe Spirit. in his memoir Future Indefinite. was a welcome relief for London “For six days I worked from eight audiences. The show ran for almost Amy Warner, Bob Davis and Sally Wingert. to one each morning and from two 2,000 performances, setting a Photo by Dan Norman.

GUTHRIE THEATER \ 5 Coward said. “If there was a heart, it would be a sad story.” It keeps us in high spirits, however, through well-crafted scenes and characters who create their own worlds that critic Irene Oppenheim describes as “abstract naturalism.”

Coward’s play would not have endured so long if it was not so well written. Through his well- structured scenes and expansive vocabulary, Coward provides particularly powerful word crafting, especially in the scenes in which Charles speaks to Elvira but Ruth perceives him as talking to himself or to her. “New playwrights should study it,” Guardian writer Susannah Clapp states, “as they should the spectacular moments of spectral action in which childish magic and adult chilliness meet.” This Coward’s Comedy: Still paradoxical pairing – the childish with the adult – is arguably what Laughing After 75 Years makes Blithe Spirit so compelling and so entertaining. Elvira’s flirtatious commands, Ruth’s by Gina Musto, Literary Intern cool control and Charles’ childish charm all butt up against Madame Blithe Spirit was first performed Lansbury, in London in 2014 and Arcati’s profound belief and her in London in 1941 and, despite the a U.S. tour in 2014-2015. There ridiculous actions. These qualities passing of time, Noël Coward’s have been numerous regional of childishness and the impossible humor feels as fresh as it did 76 performances of Blithe Spirit, play into the stage magic of the years ago. Though fashion and fads including a production at the show, the “theatrical slight of have changed, this “improbable Goodman Theatre in Chicago for its handing taking place in front of farce” by Coward lives on, much 1956-1957 season, at the Bay Street the audience’s eyes,” as Clapp like its ghostly protagonists. Theatre in Sag Harbor, NY, in 2002 describes it, with the theater and at American Players Theatre magic created by séances and Since its premiere, Blithe Spirit in its 2011 season. The comedy has ghosts on stage. These elements has been revived countless times. also been performed at the Guthrie create a space where we know After the Broadway opening in once before, in our 1997-1998 we are being fooled but the story November 1941, it was performed season. happening before our eyes makes many times in London, including us believe it is real. Theater does productions in 1970 and 1976. Situational comedy abounds this all the time, but the fact that it There have been several Broadway throughout the show, playing happens against claims of Madame revivals, such as a production in with misunderstanding between Arcati being a fraud and within the 1987 featuring Richard Chamberlain characters and differences in mystical world that commandeers as Charles, and in 2009, featuring perception. For the most part, Charles’ life gives it an extra ounce Angela Lansbury as Madame Blithe Spirit is a lighthearted romp of command over an audience. Arcati. The 2009 production led but nevertheless, it hints at the to a staging by the same director, woes of marriage, loss and death. Coward’s skill both in language Michael Blakemore, featuring “There’s no heart in the play,” and developing character has

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captivated artists and audiences for decades. Blakemore, who directed the 2009 Broadway production, said of the show:

“I’d seen Blithe Spirit as a kid in Australia and I’d sort of forgotten how well constructed it is, with a lot of surprises along the way. It’s a brilliant contrivance that puts characters in situations that are appalling for them but hilarious for us.” In what biographer John Lahr To people who are inordinately Mr. Coward’s new bundle of levity describes as a “psychic ménage- amused by Noel Coward’s is a good case in point. By all the a-trois,” Coward explores the “Blithe Spirit” it seems incredible rules of logic he should be feeling struggles of matrimony and the that any one can dislike it. And morose or alarmed these days. weight of emotional baggage all yet that is what happens at London has been battered for with a charming wit and flourish of capricious comedies, especially two awful years. … But even in the pen that has kept these plays those by Mr. Coward. While times of desperate gravity people feeling new and alive long into a most people in the audience are apparently retain their balance as new century. roaring at the sharply worded human beings, and probably the lines and the topsy-turvy plot need for laughter is more urgent of a bogus ghost story, other than ever. Whatever the reason, are staring at the stage in silent Mr. Coward’s wit and invention (left) Elia Monte-Brown, Sally Wingert and boredom. … have produced one of his Quinn Mattfeld funniest gambadoes, completely (above) Sally Wingert Although arguments about unrelated to the world in which (below) Heidi Armbruster and Quinn Mattfeld. Photos by Dan Norman. humor are futile, they are hard he is living. … to avoid, for an opinion about comedy involves an element Almost any literal criticism of it of personal pride. You who are is true. It is empty and shallow. laughing resent the presence It is absurd. It is unsubstantial. of your neighbor who is It is knocked together out of grumbling, and he in turn feels well battered materials. People superior to the frivolous and who peevishly add that it would undiscriminating minds that never have been put on the surround him. You are smug. But stage if Mr. Coward had not you are also on the defensive, written it are getting closer to for you have surrendered to the truth than they imagine. an emotion he has resisted. To For that is the essence of its preserve your self-respect you genius. Mr. Coward is past are compelled to regard him as master of the inconsequential. stupid or boorish. But he thinks He can transform old hat into you are silly. In the case of Noel harlequinade. Out of literary style Coward plays, he may think that and theatre talent he can conjure you snobbish, for Mr. Coward the evanescent magic of a swift is the idol of the boulevardiers. and spinning entertainment. And Both of you had better let the that is what “Blithe Spirit” is.” whole thing drop. … No, there is no explaining differences of Brooks Atkinson, “Hail, ‘Blithe Spirit’,” The opinion about comedy. New York Times, November 16, 1941

GUTHRIE THEATER \ 7 THE PLAY Responses to Blithe Spirit

Probably sincere spiritualists will Probably Noel Coward ought to be How the Hell can Noël get us out be annoyed, or even exasperated, feeling grave amid the anxieties of of this satisfactorily? And then you by Noel Coward’s Blithe Spirit at beleaguered London. But it is to did — like that. … the Piccadilly Theatre. And any be feared that the war has made man whose first wife is dead and him frivolous. For “Blithe Spirit,” Only thing I didn’t like was the last whose companion in the stalls, or which was acted at the Morosco three minutes. Hard, I call it. And elsewhere, is his second wife, will last evening, is a completely insane a little longeur in the early part of be embarrassed to the point of a farce that is also uproarious. It Act II. hasty departure. hardly touches the stage as it rides a demented broomstick to hilarity. This play — and “London Pride” Nonetheless, this is riotously witty In the old days of peace the West — and the Destroyer picture — all stuff. Not having occasion for either End’s Null Cahd used occasionally falling from one sleeve within two annoyance or embarrassment, I to have a serious thought on years, and such years. That’s telling laughed and laughed and laughed his mind about the iniquities of ’em. That’s England talking. at an impudent yarn about a writer neurotic society or the grandeur God bless you whose first wife was conjured from of England. But “Blithe Spirit” is THORNTON the grave to squabble cattily with her relaxed. It is pure entertainment. It successor. … If there are suggestions is a travesty of ghost stories, told Thornton Wilder, in a letter to Noël Coward, of bad taste, they are swamped by with the sardonic impeccability of a October 10, 1942 the delicious fun of it all. café wit. Noël Coward was playing a two- Philip Page, review of Blithe Spirit, Daily Mail, Brooks Atkinson, “The Play in Review,” The week engagement in Blithe Spirit July 3, 1941 New York Times, November 6, 1941 in London when he learned that his friend the Duke of Kent was killed In the midst of the war Noel The following is intended to be a in in an airplane crash. Coward tonight presented the rhymed alphabetical review of the nearest thing to what first night current theatrical season. … “It was a black and miserable day, audiences once enjoyed, a comedy and when I arrived at the theatre called “Blithe Spirit.” The play dealt B’s “Blithe Spirit”: Coward looks for the evening performance I with a little man caught between At two quite handsome female was grateful to Fay Compton for two wives who had turned ghosts. spooks. warning me, just before I went on, Compared with “Cavalcade” it The lesson here, when all is said: to be on my guard against certain will do nothing toward extending Don’t raise the queer, unruly dead. lines in the play which might Coward’s reputation as a serious surprise me, by their dreadful playwright. Wolcott Gibbs, “The Mantle of Mantle,” The appositeness, into a betrayal of New Yorker, May 23, 1942 my feelings. She was right to warn Men in uniform and, what is more me. Blithe Spirit certainly treats of a rarity in London, men who had First of all the title is genius: with the subject of death lightly, and taken the trouble to put on black spirit and blithe you already lay the although I still maintain that Death ties, together with well-dressed ghost and shroud the death’s head. in the abstract is not nearly so women, filled Piccadilly Theatre to solemn and lachrymose as many see the opening. The feeling of the And then the whole treatment of people would have us believe, it first-nighters was that Coward had Madame Arcati. What is genius but is not always possible to treat it done well, with a slight, diverting combining the unexpected and the with the proper disdain when the comedy, partly written between self-evident — so that at the same personal heart is quivering with a falling bombs. moment you are saying both: “How sense of loss.” surprising!” and “How true is that!” “New Coward Show Opens in London,” The Noël Coward, Future Indefinite, London: New York Times, July 3, 1941 … — and then turning it all on Edith. Methuen, 2004; first published 1954 By quarter to four I was saying:

8 \ GUTHRIE THEATER THE PLAY The Martini

There are various accounts of the to vermouth changed over time: origins of the martini. Martinez, 2:1 became 3:1 during the 1920s; Dry Martini California, claims to be the by the ’40s, the ratio was closer Traditionally uses more dry birthplace for the cocktail (or to 4:1. Some cocktail aficionados vermouth, however recent at least of the forerunner of the preferred a drink that was straight trends define a Dry Martini as Martini). In 1949, a miner who’d gin with a finger of vermouth run using little or no vermouth. struck it rich during the Gold along the lip of the glass, or (like Rush arrived in Martinez on his our friend Mr. Coward) no vermouth Gibson way to San Francisco. When no at all. Alfred Hitchcock instructed Garnish with a cocktail onion. champagne was to be had to his martinis to be made with a celebrate, the bartender made glance at the vermouth from across Perfect Martini him a ‘Martinez Special.’ The miner the room. Use equal parts of sweet and liked the drink, and when he got to dry vermouth. San Francisco, he educated a local VARIATIONS bartender that the drink was made A shaken martini is called a Dirty Martini with one part of very dry Sauterne Bradford. The drink chills faster Add a small amount of olive wine and three parts of Gin, stirred than when stirred, but shaking brine. with ice and finished with an olive. also increases the likelihood that Over the years, Martinez became the drink will be cloudy if not well 50-50 Martini Martini. strained. Shaking can also dilute the Use equal parts of gin and dry alcohol content. A 1934 edition of vermouth. There’s also a version of the story Harry Johnson’s Bartender’s Manual that a bartender at the Occidental includes a recipe for Bradford à la Vodka Martini Hotel in San Francisco invented the Martini: ¾ glass of fine-shaved ice; Replace gin with vodka for a drink for a celebratory miner, and 3 or 4 dashes of orange bitters; nice alternative. named it after the city to which the the peel of one lemon into mixing miner was returning. Or the drink glass; ½ wine glass of Tom gin; ½ might have been named after the win glass of vermouth. Shake well Italian manufacturer of vermouth, with a shaker, strain into a cocktail Martini and Rossi, which applied glass, put a medium-sized olive into for U.S. trademark in March 1882, it and serve. although the name had been used earlier under the parent company Martini and Sola. Other stories say that the cocktail was named for Martini di Arma di Taggia, a bartender at the Knickerbocker Hotel in New York City in the early 1900s.

Whatever its origins, the martini grew in popularity during Prohibition, because “bathtub gin” was one of the easiest liquors to make. After the repeal of Prohibition, with more quality gin available, martinis became drier and drier. The ratio of gin

Amy Warner, Heidi Armbruster, Quinn Mattfeld, Sally Wingert and Bob Davis. Photo by Dan Norman. GUTHRIE THEATER \ 9 THE PLAYWRIGHT

Gina Musto On Noël Coward Literary Intern

Noël Coward was born on December 16, 1899, in Teddingham, Middlesex, England. He studied at the Royal Chapel School in London and made his acting debut at age 12 when he was invited by Charles Hawtrey, a popular comedian, to appear in a play called The Great Name. The role led to a seven-year apprenticeship with Hawtrey.

In 1913, Coward won praise for his criticized for being immoral, Coward Coward also entertained troops on portrayal of Slightly in a production had a reputation for sharp wit and major battlefronts during World of Peter Pan, and in 1917 he made a suave nature and was seen as a War II and later wrote about his his first film appearance, a small voice for the younger generation. experiences in Middle East Diary role in the movie Hearts of the (1945). In 1942, he wrote, starred in World, directed by D.W. Griffith. In 1929, Coward starred in the and co-directed, with David Lean, Broadway production of Bitter the filmIn Which We Serve that During World War I, Coward was Sweet, which he also wrote. The told a harrowing story of survival considered unfit for active military show was popular both in the U.K. on a British naval destroyer. service due to medical reasons and the U.S. and demonstrated Coward went on to collaborate and spent nine months in Artists his skill as a composer. He went with Lean on the film versions of Light Rifles Officer Training Corps, on to pen a number of plays his plays Blithe Spirit (1945) and a volunteer light infantry unit over the next decade, including Brief Encounter (1946). that included artists and other Private Lives (1930), Calvacade creative professionals. He was (1931), Design for Living (1937) and Later in his career, Coward discharged after nine months. Blithe Spirit (1941). shifted his focus to working as an Some biographers attribute his entertainer. His final acclaimed discharge to a nervous breakdown, At the start of World War II, acting performance was in 1960 something he would experience Coward felt compelled to help the in the filmOur Man in Havana. He several times in his life. war effort, and was sent to Paris as was knighted by Queen Elizabeth head of the bureau of propaganda. in 1970 and died March 26, 1973, Throughout his career, Coward After he returned to London, in Blue Harbor, Jamaica, where he wore many creative hats – actor, Coward’s studio was damaged had lived for several years. screenwriter, playwright, producer, during the Blitz. Consequently, composer and director. The first play he decided to take a brief writing Coward’s body of work includes 50 Coward wrote was Rat Trap, written holiday in Wales with actor Joyce plays, 25 films, hundreds of songs in 1917 but not produced onstage Carey, during which time he wrote including “London Pride” and “Mad until 1926. Next came The Last Track Blithe Spirit. It took him just five Dogs and Englishmen,” a ballet, a (1918), in which he also played the days. While some critics felt the two-volume biography (Present lead role. As a playwright, Coward play was in bad taste for the Indicative and Future Indefinite), achieved his first critical acclaim in times, audiences adored it. Blithe two novels, several volumes of 1924 for The Vortex, a script that Spirit ran for 1,997 performances short stories, countless poems and dealt with narcotics addiction. in London and later toured at a massive set of diaries, recordings, Though his plays were often hospitals and munitions factories. sketches and paintings.

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Coward’s Plays

Left to Right: Private Lives, Design for Living, Brief Encounter

Blithe Spirit falls a little more than halfway in 1918 The Rat Trap Noël Coward’s writing career. Sheridan Morley, 1920 I’ll Leave It To You one of Coward’s biographers, considers 1921 The Young Idea; Sirocco Blithe Spirit the beginning of a new phase 1924 The Vortex of Coward’s writing. Where he previously 1925 Fallen Angels; Hay Fever; On With the Dance wrote about small, rather insular groups of 1928 The Year of Grace! (songs) characters coping with the world around them, 1929 Bitter Sweet as in Hay Fever (which the Guthrie produced 1930 Private Lives in 2012) his plays beginning in the 1940s were 1931 Cavalcade more independent of each other and Coward’s 1932 Words and Music earlier work in tone and theme. 1933 Design for Living 1936 Tonight at 8:30 The title of Coward’s comedy comes from the 1938 Operette poem “To a Skylark” by Percy Bysshe Shelley, 1939 Present Laughter; This Happy Breed which begins “Hail to thee, blithe Spirit!” 1941 Blithe Spirit “Blithe” means happily lighthearted, casual or 1945 Sigh No More lacking consideration. 1947 Peace in Our Time 1950 Ace of Clubs The Guthrie has produced Blithe Spirit once 1952 Quadrille before, during the 1997-1998 season, in a 1956 Nude With Violin; South Sea Bubble production directed by Joe Dowling, which 1959 Waiting in the Wings featured Sally Wingert as Ruth. In our current 1960 Sail Away production, she plays Madame Arcati. The 1962 The Girl Who Came to Supper (songs) Guthrie has staged several of Coward’s other 1966 Suite in Three Keys plays, including Design for Living in 1977, Private Lives in 1975, 1992 (which featured Bob Davis and Wingert) and 2007 (featuring Wingert again), and Hay Fever. In 2010, the Guthrie’s WorldStage Program presented Kneehigh Theatre’s production of Noël Coward’s Brief Encounter.

GUTHRIE THEATER \ 11 THE PLAYWRIGHT

Coward Described by Those Who Knew Him

His plays, in general, do not “date.” us, are changeless. What is more, popular field for many years, he Admittedly the idiom is personal he expresses that interest with a is the author of Bitter Sweet, the and he often writes much as, in real verbal dexterity unmatched in our best musical of [the 1920s]; its life, he speaks; but that is merely to time. It is not a difficult idiom to composer and producer as well. say that he writes with wit; and wit imitate – and many have done so He is also author of Hay Fever, an is a quality that does not date. The – but it is impossible to reproduce. artificial comedy which, in my view, things that do date, in the theatre, In fact, it is the imitators who now has as good chance of immortality are attitudes of mind inspired by sound dated, not Coward. as any work of an author now purely contemporary factors – living. It is ‘minor’ work, its political opinions, for instance, or Terence Rattigan, “Noël Coward: An pretensions are small; but as well as moral judgements, or messages Appreciation of his Work in the Theatre,” its author’s typical glitter and sharp on How To Save The World. All the foreword to Theatrical Companion satiric sting there is an ‘over and such paraphernalia are happily to Coward, by Raymond Mander and Joe above’ of wholesome horse sense. … mainly absent from Coward’s work. Mitchenson, London: Rockliff, 1957 In Hay Fever one catches, between He is interested only in humanity, the lines, a glimpse of that aspect its quirks and foibles, its vanities Coward’s, I think, is an of Noël Coward which made him and idiocies, its prejudices and overpublicized but underestimated a good president of the Actors’ pomposities, and these things, as talent. Not only has he been Orphanage. Usually this position Congreve and Sheridan have taught a leading entertainer in the had gone to an eminent actor who

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made a dignified figurehead, gave Noël was always word-perfect at a handsome subscription and saw the first rehearsal and expected to it that seven or eight of his well- the whole company to be the off friends did the same. Coward same. This was all very well for him did all this; but he also visited the because he was usually the author orphanage, made sure that the too. He had terrible rows with beds were clean, that the slops Gladys Cooper and Edith Evans in were emptied, the stairs swept, later years because they would not the meals adequate and that the learn his lines beforehand. He used orphans felt that their president to say that it wasted so much time. really stood in loco parentis. … Perhaps Noël’s method suited his own plays – they are written in Tyrone Guthrie, A Life in the Theatre, a very clipped, staccato style, and London: Columbus Books, 1960 he nearly always played them with people like Gertrude Lawrence, His triumph has been to unite an extraordinary, volatile, talented two things ever dissociated in creature who invariably gave the the English mind: hard work and plays a rhythm and quality of her wit. Toil is commonly the chum of own. She was a much greater serious-mindedness; and though, actress than Noël was an actor, within Coward, a social historian though he too was highly skilled and philosopher are constantly and spoke his own words and lyrics campaigning to be let out, they quite brilliantly, with marvelous seldom escape into his work. … pace and diction.

I have heard him accused of having John Gielgud, An Actor and His Time, enervated English comedy by London: Sidgwick & Jackson, 1979 making it languid and blasé. The truth, of course, is the opposite: We remember his talents, the Coward took sophistication out of masterliness and the variety the refrigerator and set it bubbling of them, his originality, his on the hob. He doses his sentences inventiveness, the protean range with pauses, as you dose epileptics of his gifts: his musicality, gift of with drugs. To be with him for melody, as a lyricist, playwright, any length of time is exhausting actor, singer, tap-dancer. With and invigorating in roughly equal his dazzling prowess as a light proportions. He is perfectly well comedian, he was the most aware the he possesses “star complete master of the stage quality,” which is the lodestar of in this century, and adored by his life. In his case, it might be his friends, and many millions of defined as the ability to project, others. without effort, the outline of a unique personality, which had never Laurence Olivier, Confessions of an Actor: An existed before him in print or paint. Autobiography, New York: Simon & Schuster, 1982 Kenneth Tynan, “A Tribute to Mr. Coward,” Curtains, New York, Atheneum, 1961

Elia Monte-Brown, Quinn Mattfeld and Heidi Armbruster. Photo by Dan Norman. ADDITIONAL INFORMATION

For Further Reading and Understanding

BY NOËL COWARD The Letters of Noël Coward, edited by Barry Day, New York: Alfred A. Plays Knopf, 2008 Blithe Spirit (acting edition), New York: Samuel French, 1941 ABOUT SPIRITUALISM

Three Plays: Blithe Spirit, Hay Fever, History of Spiritualism by Arthur Private Lives, with an introduction Conan Doyle, New York: George H. by Philip Hoare, New York: Vintage Doran Company, 1926 International, 1999 The Sympathetic Medium: Feminine Memoirs Channeling, The Occult, and Present Indicative, covering his life Communication Technologies, 1859- through Fall 1931 1919 by Jill Galvan, Ithaca: Cornell first published in 1937; currently University Press, 2010 published by Methuen Publishing Ltd. Spiritualism and British Society Between the Wars by Jenny Future Indefinite, covering the war Hazelgrove, Manchester University years, 1939-1945 Press, 2000 first published in 1954; currently published by Methuen Publishing Ltd., including the unfinishedPast Conditional

ABOUT NOËL COWARD

A Talent to Amuse: A Biography of Noël Coward by Sheridan Morley, Garden City, N.Y.: Doubleday & Company, 1969

Cowardy Custard: The World of Noël Coward, edited by John Hafield, London: Heineman, 1973

Remembered Laughter: The Life of Noël Coward, New York: Alfred A. Knopf, 1977

Noel Coward and His Friends, by Cole Lesley, Graham Payn & Sheridan Morley, London: Weidenfeld & Nicolson, 1979

Noël Coward: A Biography by Philip Hoare, New York: Simon & Schuster, 1995

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