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Home , Annette Badland, Felicity Kendal, Penelope Keith, Richard Briers, Sidney Torch, Tammy Grimes

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APRIL 2008 - THE NEWSLETTERCHAT OF THE NOËL COWARD SOCIETY Price £2 ($4) President: HRH Duke of Kent Vice Presidents: Barry Day OBE • • CBE • Tammy Grimes

PENELOPEKEITH and TAMMYGRIMES are the Society’s Newest Vice Presidents arbara Longford, the Society’s Chairman, was delighted to announce this month that the star of the West End Coward revivals Star Quality and , Penelope Keith, has agreed to become our next Vice President. In America the actress Tammy Grimes the star of Look After Lulu, and Private LivesBhas also graciously accepted our invitation. Both are known Coward devotees and will provide a strong theatrical presence amongst the Society’s Honorary Officers. Penelope Keith is best known in the UK for her television appearances in two of the most successful situation comedies in entertainment history. She made her first mark as the aspiring upper-class neighbour, Margot Ledbetter, in The Good Life and later as the upper-class lady fallen on hard times, Audrey Fforbes-Hamilton, in . Apart from Star Quality and Blithe Spirit she has appeared on stage at the Chichester Festival in the premiere of Richard Everett’s comedy Entertaining Angels, which she later took on tour. In 2007 she played the part of Lady Bracknell in The Importance of Being Earnest on tour and is currently appearing in the same role at the in the West End (booking until 26 April). Her best known theatre appearance was in 1974, playing Sarah in opposite her The Good Life co-star . Keith would often film The Good Life during the day and perform on stage in the West End in the evening. In 1978, the year The Good Life ended, she married Rodney Timson, a former policeman. They had met while he was on duty at Chichester Theatre where Keith was performing. They adopted two children, who were brothers, in 1988. She has also starred in the radio adaptations of To the school in Seaford, Sussex. It was here that a young Penelope Manor Born. In 2003, she appeared opposite in the first became interested in acting, and she and mother would TV drama Margery and Gladys. In 2007, she starred in a one- frequently go to matinees in the West End. She was rejected off To the Manor Born Christmas Special. Her Television work from the Central School of Speech and Drama, on the grounds includes starring roles in the BBC productions of that, at 5’10”, she was too tall. However, she was then accepted and both included on the Coward 7 disc DVD set. at the Webber Douglas Academy of Dramatic Art, and spent Penelope has been President of the ‘Actors' Benevolent two years there. Fund’ since 1990, taking over after the death of Lord Olivier, Penelope spoke at the Memorial Service Celebration for and is President of the ‘South West ’. On Graham Payn at St Paul’s Church, Covent Garden in June of 2 April 2002, she began a one-year term as High Sheriff of 2006 where she read When I Have Fears and added that Surrey, being only the third woman to hold the post. She was Graham Payn demonstrated a quality sadly lacking in much of made an ‘Officer of the British Empire’ (OBE) in 1989 and was modern life ‘style and charm’. Qualities for which Noël promoted to a Commander (CBE) in the 2007 New Year Coward and Penelope Keith are also renowned. Honours for “charitable services”. She is also a Deputy Lord The Society is delighted that she has agreed to join Barry Lieutenant. Day and Stephen Fry and become our newest Vice President. Born Penelope Hatfield in Sutton, Surrey. She spent her The Actor’ Benevolent Fund can be found online at: early years in Clacton-on-Sea and Clapham. Although not www.actorsbenevolentfund.co.uk Catholic, at the age of six she was sent to a Catholic boarding IN OUR NEXT EDITION A WELCOME TO TAMMY GRIMES AS OUR FIRST AMERICAN-BORN VICE PRESIDENT ‘’ papers show ‘past woes’ of John C. (Jack) Wilson and Noël Coward he Society has been delighted to receive a magnanimous donation Stephen Fry has from one of its Vice Presidents, Stephen Fry, of generously donated Jack Wilson’s papers for the 1946 the production papers TAmerican original production of Present Laughter at the Playhouse for the staging of the Theatre, Wilmington, Delaware 1946 US opening of and then the Plymouth Theatre in Noël Coward’s New York. (The Plymouth was to see Tallulah Bankhead and Donald Present Laughter Cook relishing Private Lives just over a year later). The play was clearly not a financial success as the papers reveal. The play originally opened at the Haymarket Theatre in on April 30, 1943 where it ran for a total of 38 performances. The New York Stephen Fry production opened at the Plymouth Theatre in New York City on October 29, 1946 where it ran for this production a total of 158 performances. Produced and directed by John C. were NCS Wilson, with scenic design by Donald Oenslager, the opening member Dana night cast was Clifton Webb as Garry Essendine, Cris Ivey playing Alexander as Roland Maule, Robin Craven as Hugo Lyppiatt, Monica, Kate Doris Dalton as Liz Essendine, Leonore Harris as Lady Burton as Saltburn, Marta Linden as Joanna Lyppiatt, Gordon Mills as Daphne, Morris Dixon, Grace Mills as Miss Erikson, Jan Sterling as Christine Lahti Daphne Stillington, Aidan Turner as Fred and Evelyn Varden as as Joanna and Monica Reed. Jim Piddock as The archive consists of manager’s working copy Fred. It ran for of the playscript, financial statements detailing profits made on 175 the play’s English production at the , performances. from 7th to 12th April 1947, the Haymarket Theatre, The last London from 16th April 1947 to 27th March, 1948, and on the US revival in provincial tour from 4th August 1947 to 3rd January 1948, with 1996, saw John C Wilson figures also provided for the cost of the tour production and Frank Langella detailed financial statements on money and shares from starring as Essendine with Steve Ross in the role of Fred. This investors in the venture, theatre programs for the productions at also ran for 175 performances at the Walter Kerr Theatre. The in Wilmington, Delaware, for September The papers reveal some interesting evidence of how 26, 27 and 28, 1946 and at The Plymouth Theatre in New York difficult it is to make money from theatrical productions. Lord City, for the week beginning November 4, 1946, and a letter (Ned) Lathom poured a totally unrealistic amount of money written by producer and director John C. Wilson to members of into the first Coward success, London Calling! due to his the company giving news of the production’s closing. There are fixation with having only the finest costumes and sets. Andre 10 items in total. Charlot who produced the revue argued with Lathom that even The package also has a list of investors with their from the front stalls it was difficult to tell ‘Molyneux from investment, % share profit and costs. Ticket sales for the mutton-cloth’ so investment in couturier designed costumes opening night and first week; a financial report with was a complete waste of money - but Lathom would not have it disbursements, receipts etc.; a list of organised parties attending so this highly successful production made a large loss. Here in the play; a detailed list of investors and a profit and loss Present Laughter these excesses from a single over-indulgent account. After its first production in the United States in 1946, backer were absent but no greater profits ensued. it closed in March of the following year after only 158 The budget for the US production was $40,000. H.M. performances. It enjoyed a brief six-show run in 1958 at the Tennent (in reality ‘Binkie’ Beaumont), Clifton Webb and the Belasco Theatre in repertory, with Coward as Garry and Eva Cullman and Dresselhuys families took 10% each of the cost; Gabor as Joanna. the rest of the investment was shared by 12 other backers In 1982, George C. Scott directed and starred in a revival at including a Mr Knopf. Circle in the Square Theatre, which featured the Broadway Amongst the most interesting papers is a letter from Jack debut of NCS member Nathan Lane as Roland Maule. Also in Wilson to the Plymouth Theatre’s company as the losses of the 2 production became clear. parties’ that attended the opening production at The Plymouth It reads: Theatre in New York from October 31st to January 7th - no “Dear Company, This note was intended to reach your eyes further details are given but the list includes many groups that before the morning papers as I was not aware that the are still in existence today: Thespian Club, Winfield Day information was to be made public for a day or two. Nursery, Turtle Bay Music School , Sarah Lawrence College, The play is closing on March 15th, but I Ladies Hebrew Aid of Mt. Vernon, want to explain to you that it is in no sense a Junior Associates, Jacob A. Riis question of your making way for another Neighbourhood Settlement, N.Y. production of mine or anybody else’s. We Women’s Division of National Jewish have been operating for the last few weeks Hospital of Denver, Society of the very close to our deadline and this week not Hillside Hospital, The Protestant, only will we obviously fall under the clause Rockaway League Hebrew National at which the theatre is allowed to evict us but Orphan Home, Speedwell Society, Sarah managerially we still operate at a loss. This, Holland League, Inc., The Rinnah as you will all know, indicates a notice -- Organisation, Child Study Assoc. of sometimes only a week’s notice, but in this America, Jordan Group of Hadassah, case I am anxious to prolong it as much as Hebrew Home for Chronic Invalids, US possible and the owners of the theatre have Employment Service, Inwood Group very kindly allowed us to continue for three Hadassah, Ladies Auxiliary of the Home more weeks. & Hospital Daughters of Israel, I appreciate greatly all that you have Westchester League for Pleasantville, done from the beginning, and I am sorry that Shelter Guild, University Settlement this information had to reach you through Society, Barkshire Industrial Farms, Beth other channels than my own. Israel West Jewish Center, Women’s Very sincerely yours, John C Wilson” American GRT - West Side Chapter, Juvenile Service League, Among the papers is a statement of ticket prices for the US Federation of Polish Jews, B’nai Brith Freedom Lodge 1535, opening night and the rest of the first week (the name of the Sisterhood of Community Synagogue Center and a matinée theatre is not given but this is probably for attendance by The Comedia Club on the Plymouth Theatre opening). For the first November 20th. night ticket prices ranged from $7.20 for There is much more to be gleaned orchestra seats to $2.40 for back rows in the from the facts and figures listed among balcony. Boxes offered seats in the 6 boxes at these papers but perhaps the most $6.00. For the rest of the week’s evening exciting thing to look through is the only performances orchestra seats were $4.80 to ring binder in the collection - a typed $1.20 for the back rows of the balcony. script of the play marked and used by the Other papers show the backers and the stage manager for the production - a profit and loss account for the English model of practice with entry cues as tags production of 1947/48. H.M.Tennent with attached to pages, warnings of sound and Binkie Beaumont this time named as a effects and entry cues. separate investor with John Perry, Howard To touch it is somehow to touch the and Wyndham, Stewart Cruikshank and actual production and to be there at the Stewart Cruikshank Jnr. all of whom took side of the stage ensuring that all is as it over four times their investment from the should be as Clifton Webb waits in the profits from the show leaving a final profit of wings ready to make his entry as ‘Garry’. £1,877.16s.8d. Jan Sterling is on stage as ‘Daphne’ The gross profit from the preliminary explaining herself to Grace Mills and week at the Royal Court Theatre, Liverpool Evelyn Varden. The audience has flicked was just over £530; from the 50 week run at through the and noted the latest The Haymarket Theatre, London just over £9,410 and from the Milgrim Original fashion, the Huyler’s thin mints are passed provincial tour of 21 weeks that followed, just over £1,245. from hand to hand and patrons are reminded at the interval that After a further deduction for Barryobee Ltd. for the tour the ‘More Doctors Smoke Camels than any other cigarette’. It is gross profit for the two years 1947/48 was £10,874.16s.0d. another age reignited in our memories by this wonderful A financial report in October 1949 makes it clear that the package of papers. The recent revival of this, the longest of first touring revival of the play in North America did not fare Coward’s comedies shows a continuing popularity that no one well. John C. Wilson, Martin Manulis & C. Edwin Knill could have guessed in 1946 - as these papers reveal. Our produced it. It was staged by Martin Manulis and ran from May sincere thanks to Stephen Fry for donating them to the society of that year with Edward Everett Horton, Marta Linden, Jane and giving us a glance at 1940s theatre entrepreneurship. Seymour, Katherine Meskill and others. Among the theatres John Knowles that hosted the production was the Royal Alexander Theatre in Toronto. For those who invested $35,000, in the Manulis-Knill Production the return was just $5,620 - a loss of just under $30,000! Finally there is a paper listing the ‘theatre 3 Background notes courtesy of ‘Playbill.com’ Plus a Review of the Press night! oël Coward's 1924 play The Vortex, starring and Felicity Kendal in directed by , opened at the West End's on The Vortex February 26. Kendal, best known for her TV roles in such long-running series as The Good Life, The Mistress and Rosemary and Thyme, has had two long theatrical associations. For director Peter Hall, she has starred in his Nproductions of the world premiere of and Othello, both co-starring Paul Scofield, at the National Theatre; Waste and The Seagull for the Peter Hall Company at the Old Vic; and An Absolute Turkey, Mind Millie For Me, Happy Days and, most recently, 's Amy's View, all in the West End. She also had a sustained professional partnership with playwright , appearing in the original productions of his plays , and , as well as a revival of Jumpers and his adaptation of . , has also had a lengthy association with Peter Hall, previously making his professional stage debut as Orlando in a 2004 production of that Hall directed. Stevens subsequently appeared in and the West End revival of Coward's Hay Fever, playing 's son, that Dan Stevens in the first two acts were also directed by Hall. Stevens is also underplays the arrogant, hedonistic known for his roles in the television CAST: personality of Nicky. The contrasting adaptations of Alan Hollinghurst's The Florence Lancaster: Felicity Kendall personalities of Florence’s young lover Line of Beauty and more recently, Jane Nicky Lancaster: Dan Stevens Tom Veryan (Daniel Pirrie) and Nicky Austen's Sense and Sensibility. Helen Saville: Phoebe Nicholls should provide the reason for Bunty Clara Hibbert: REVIEW Mainwaring moving her affections to the Pauncefort Quentin: Barry Stanton Of all the plays written by Coward it is one from the other. It doesn’t. Dan Tom Veryan: Daniel Pirrie The Vortex that is quoted as being of Stevens is artistic and just a tad too nice David Lancaster: Paul Ridley almost ‘road to Damascus’ significance in and reasonable and Daniel Pirrie is Bunty Mainwaring: Cressida Trew Coward’s youthful journey to the bright militaristic and ... yes... just a tad too nice Bruce Fairlight: Timothy Speyer lights of the West End. Shocking in its day and reasonable! Preston: Vivien Keene it became a honey-pot for the sensation- Dan Stevens however more than seeking, ‘between the wars’, theatre crowd compensates in the final act by giving a Director: Peter Hall and promoted the young actor playwright wonderfully controlled but passionate Producer: Bill Kenwright whose previous success London Calling! performance that exposes the reasons for Design: Alison Chitty was probably the real start of his his and Florence’s tortured lives, reveals breakthrough. Followed closely by Fallen their unhappiness and defines the Angels and Hay Fever, The Vortex was Booking to June 7 Apollo Theatre, emotional vortex that must change if they part of Coward’s most productive West Shaftesbury Avenue, are to love each other as mother and son. End period. Together with Easy Virtue he BO: 0870 890 1101 Felicity Kendall excels as his partner in completed four productions all running this short, intense, emotional journey. In during a three year surge of activity and revivals. There is no concern here for the the last few moments their bodies form a success. historic nature of the text or the physical vortex before Florence parts and Many NCS members saw the last mythology of Coward and the work. She utters her final words of emotional London revival where plays it as a full-blown ‘’ release. presented it as a bravura opening to his and dominates the stage. From her Annette Badland excels as the social reign as Artistic Director at the Donmar sophistication in an invented world singer Clara Hibbert (Coward’s friend Warehouse. Made all the more brave, dominated by her young male Olga Lynn must have been the model for some claimed, by casting Francesca attachments and thriving social calendar this part) and provides most of the Annis as Florence with the acclaimed through the exposure of its frailty during humour in the first two acts. black actor as Nicky. the second Act to the final emotional Barry Stanton, in my view, correctly Recently stepped out of torment of the final Act she convinces and underplays ‘Pauncy’ hinting rather than the pizzazz of the pop world and into the carries the play. spraying his gay personality at the intimacy of the round stage of the Royal Phoebe Nicholls presents a more audience. By contrast Cressida Trew as Exchange in in his first interesting Helen than I have seen before, Bunty gives a rather lame performance theatre role as the drug-taking Nicky in a less ‘matronly friend’ and more ‘sensible unlikely to catch either of the young men successful northern revival of the play. conspirator’ and eventual ‘voice of within her ambit. Timothy Spencer Felicity Kendall whose last role in a reason’ with hints of a deeper love of entertains, Vivien Keene serves - but it is Coward play was in Fallen Angels in Florence than mere friendship - at one Felicity Kendall and Dan Stevens who 2000 turns the role of Florence into a tour point there is an unexpected, and yes provide the fire and interest in what must de force. She gives the play a sense of shocking, flash of lesbian desire as a be judged as an intense performance and maturity, confidence and assurance that I touch on the shoulder reveals sexual a sound revival of a complex play. for one have not seen in previous recent feelings for her friend. John Knowles 4 The blood and guts of Coward - Noël Coward overcame artistic resistance, financial problems and a heavily bleeding wrist before The Vortex reached the stage at the Everyman. Gerald Isaaman of the Islington Tribune oël Coward was just an ambitious - and talented Coward in his memoirs. nobody when he dumped two of his plays on the “I could either stick to my guns, in which case I should desk of Norman MacDermott, the radical director have to find a new leading lady immediately and rehearse her of the dusty Everyman Theatre in Hampstead. from the beginning. Or I could surrender to Kate by reverting This was the tiny suburban theatre where to the original last act, which I knew to be too short and lacking plays, possibly en route to the West End, were tried out, some the correct emotional balance in the conflict between mother majorN works by Bernard Shaw, John Galsworthy, Eugene and son.” O’Neill and Arnold Bennett with such stars of the future as “When all rage was spent and blood had resumed its normal Edith Evans, Sybil Thorndike, Claude Rains and Raymond circulation, I decided, quite firmly and without passion that Massey making their initial mark. neither then nor at any time in my life would I allow myself to The year was 1924 and Coward’s plays were Hay Fever and be dictated to in the old-age battle between actor and author.” The Vortex, the latter now being given a West End revival with With his inherent charm, Coward then pulled off a Felicity Kendal in the starring role of an egotistic, upper-crust remarkable coup, persuading Lilian Braithwaite to take the role lady and her son dabbling with drugs. of his “neurotic and flamboyant” stage mother, despite her Indeed, Coward’s daring social comedy, now described as being offered a much more lucrative West End role. “the vortex of beastliness”, was the first play ever to tackle the MacDermott, who had been away during the hectic subject of sex and drugs. It was his breakthrough triumph as a weekend of change, was furious at not being consulted, and playwright, producer and performer, earning him just £5 a declared that Braithwaite was utterly wrong for the part. week at the Everyman, the wage all the cast received under He washed his hands of the production, Coward coolly MacDermott’s financial restrictions. pointing out that he had himself funded it anyway. The memoirs of MacDermott and Coward, then 24, differ Alas, that wasn’t the end of it either. Not only was he on the details, but MacDermott insisted that The Vortex, which worried about his own performance but a row followed with he believed would be a “sure-fire success”, came first - Coward MacDermott about the set for the play and then Lord Cromer, not signing the contract until rehearsals were already underway. the Lord Chancellor who licensed all plays took exception to “The theatre itself was small, intimate and draughty,” some of the outspoken dialogue. Coward later recalled. “Its auditorium, foyer and corridors were Again, Coward’s charm won him over and, describing carpeted austerely with coconut matting, and there was a subtle opening night, he wrote: “That evening was altogether an but determined aroma of artistic endeavour pervading the extraordinary experience.” whole place.” “There was a certain feeling of expectancy in the air, an Then MacDermott suddenly announced he didn’t have the acceptance almost the play would be a success.” money to back the play and declared it would have to be “The audience looked distressingly near owing to there abandoned unless Coward could raise £200. being no orchestra pit and no footlights. Familiar faces “This was the first of many horrible setbacks attending that suddenly jumped out of the darkness and accosted us in the production,” admitted Coward. “I was in despair, and spent a middle of a scene. Lilian was cool and steady and played black 24 hours racking my brains to think of someone whom I beautifully. I was all over the place, but gave, on the whole, one could ask for the money.” of those effective, nerve-strung tour-de-force performances.” He hit on Michael Arlen - whose novel The Green Hat had “At the end of the play the applause was terrific. I happened become a bestseller - took him to dinner and blurted out his to cut a vein in my wrist when, towards the end of the last act, I troubles. Arlen signed a cheque on the spot and The Vortex took had to sweep all the cosmetics and bottles off the dressing a leap forward, only to be thwarted when one of the cast table. I bound it up with my handkerchief during the curtain developed diphtheria and had to be replaced. calls, but it bled effectively through my author’s speech.” Then came another unexpected obstacle. Coward’s leading “The first person to clutch my hand afterwards was Michael lady, Kate Cutler, had a screaming row with Coward because Arlen. He said, ‘I’d be so proud, so very proud if I had written he had rewritten the second act of The Vortex to improve the it’.” play, giving himself a bigger role than he had before. And Kate Coward, after two earlier failures, was made when The insisted he had done it deliberately to humiliate her. Vortex swept into the West End. But he never returned to the Either they would revert to the original script or she would fateful Everyman to produce his next triumph, Hay Fever, or depart was Kate’s ultimatum. “After a violent scene in which ever again since the final curtain came down in 1926. both Kate and I held our ground sturdily and refused to give way an inch, Kate left the theatre, and there 1 was, a week With thanks for Rosalinda Zazzera and Douglas Gordon for away from production, faced with two alternatives,” says spotting this item and sending it on to Barbara Longford.

MERLE OBERON The recent re-showing of the TV mini-series Queenie reminded us that this long saga was suggested by the life and times of Anglo-Indian movie star Merle Oberon - one of Noël’s favourite ladies who was his personal guest at the celebrations to mark his 70th Birthday at The Savoy and later at the Phoenix Theatre. Throughout her professional life she had to cope with the terror of racism. In order to deny her mixed-race Indian background, Oberon maintained the fiction that she had been born and raised in Tasmania. She married Alexander Korda and it was after her death that Michael Korda, nephew of Alexander wrote the roman à clef about Oberon entitled Queenie. This became the television mini-series starring Mia Sara.

5 “I could translate it into French as I walked up and down the beach.” Noël Coward’s ‘’ - Alan Farley reveals The Master’s choice. oël Coward appeared on the BBC’s “Desert Island RP: Splendid let’s have record number five Discs” on 28 January 1963 (recorded 2 January NC: Well, record number five is a lady to my mind who is 1963). Here are some excerpts from a transcript our greatest actress, Dame Edith Evans, reciting or rather of the broadcast, showing what his eight choices speaking our greatest author , and I’ve were. RP is the host, Roy Plomley. chosen Edith doing this particular sonnet, I love this particular sonnet, it’s ‘shall I compare thee to a summer’s day’ and RP:N What is the first one you’ve chosen? listening to Edith’s phrasing and her perfect sense of reality and NC: Well, the first one I chose was a piece of music that charm in it. I would certainly be quite happy with this on the I’ve always loved very much it’s been associated with me it’s desert island for the rest of my life. the Rachmaninov 2nd Concerto; I used it as the background music in Brief Encounter and also curiously [Record 5: Shall I compare thee to a summer’s day] enough in the first movie I was in called The Scoundrel, we used it, so it’s sort of in my brain and I love it, and I know RP: The voice of Dame Edith Evans, which brings us now every note of it and very often play it. to record number six. RP: Who would you like to play it on this occasion? NC: Oh well now, record number six is the Peter Sellers - NC: Oh, the first time I heard it was Rachmaninov playing Irene Handl version of ‘The Critics.’ So it seems very himself in Manchester, and I’d rather hear him play it than appropriate considering our conversation of a few moments anyone in the world. ago. Oh, those poor critics they do have such a beastly time, don’t they? Well, I think that this little recording is probably [Record 1: Rachmaninov 2nd Piano Concerto] one of the most brilliant bits of satire I’ve ever heard on a disc, because it is exactly like the Sunday Morning Critics. RP: [Part of] The 3rd Movement of Rachmaninov’s 2nd Piano concerto with the composer at the piano and Stokowski [Record 6: The Critics] conducting the Philadelphia Orchestra. What’s your second choice, Mr. Coward? RP: Let’s have record number seven. NC: Oh, this is again a change in the bowling, to use a NC: Well on my second choice is a wide leap to a popular cricket term of course. (LAUGHTER) Startled me nearly as performer, and it’s Frank Sinatra singing a popular song called much as it startled you. This is to me a classic and it’s called ‘All the Way’. As a matter of fact, Frank Sinatra is to me one ‘A Hole in the Ground’ sung by Mr. Bernard Cribbins and I of the most satisfactory performers in that line of business in think it is a very charming recording. the world. He phrases beautifully, he sings with great charm, and he means, or apparently means what he’s singing about. I [Record 7: A Hole in the Ground] think he’s a great artist. RP: Bernard Cribbins and ‘A Hole in the Ground’ which [Record 2: All the Way] brings us now to your last record, what’s that going to be? NC: Well the last record is again quite different and it’s to RP: Well let’s have your third record now. mind one of the greatest pieces of music ever written and it’s NC: Well, as we’ve been talking about my past in the Verdi’s Requiem Mass and I thought that if I was going to be on theatre, I’ve included one record in this lot, which might sound the island for - for a very, very, long time, that as I was dying egotistical, but it really isn’t meant to be, it’s meant to be for the second movement of this requiem mass would certainly me, nostalgic. It is the love scene from Private Lives played by wake me up again, because it is the ‘Dies Irae’ which is so Gertie Lawrence and me. As I was deeply fond of her and we dramatic and full of rich glorious sound, and I think this, when worked together so much in our lives and I shall miss her I was really falling to pieces at the end of my long and mis- always I thought I’d like on my desert island, to be able to hear spent life on my island, I think this really would wake me up her voice again occasionally. for a few extra moments of pleasure.

[Record 3: Love scene from Private Lives] [Record 8: Verdi’s Requiem Mass]

RP: Let’s have record number four. RP: The opening of the ‘Dies Irae’ from Verdi’s Requiem NC: Well I’ve chosen a very different piece this time. Mass, Victor de Sabata conducting the orchestra and chorus of Well - I think one of the greatest artists that ever appeared in La Scala opera house, Milan. Mr. Coward we heard your eight the operatic stage with all the things that have been said about records, if you could only take one of those eight, which would her, is Madame Maria Callas. And I’ve chosen her singing it be? the ‘Casta Diva’ from Norma because that was the first time I NC: Oh, what a ghastly question, isn’t it? Very cruel. Well ever saw her on the Metropolitan stage, and I was immensely I think the only one that I would never get sick of is ‘Hole in moved by this very great artist. the Ground’ (RP: Quite) because I could translate it into French as I walked up and down the beach. [Record 4: ‘Casta Diva’ from Norma] 6 HEAVILY INTO at VOCALION Dominic Vlasto looks at the course of light music in the 1950s eaders with long musical memories will recall with with anyone better than Wally Stott for his last UK recordings. delight the “rediscovery” and CD issue in 2005 of It is clear to me that it was Wally Stott’s Noël Coward’s last UK recordings, made in London which Coward had taken with him to America immediately during the summer of 1954, with Wally Stott and his before Las Vegas, and passed on to Peter Matz to have a look orchestra and Norman Hackforth at the piano. A at. They were pronounced unsuitable – but I suspect mostly on double delight, in fact, since the MCSR CD (still available, as account of their slightly romantic strings-heavy orchestrations farR as I know – check out the MCSR link on the NCS website) rather than the rejection being on grounds of incompetence; gave us not only a set of nevertheless, to the orchestrator it is clear that Matz retained a new Coward tracks of good deal of the precise shape and structure of certain songs’ real musical worth, but accompaniments from the Wally Stott manuscripts, effectively also the album of merely altering the instrumentation. Coward songs recorded I have been reminded of all this on account of having by Harry Noble at stumbled across a new CD reissue on the Vocalion label of around the same time. Wally Stott and his Orchestra. It made me smile when I saw it, I think perhaps at because the cover picture – a very “cutsie” Wally Stott with the time I was so close conductor’s baton delicately poised – was very much par for to the project of issuing the typical publicity shot of the CD that I never got the pre--War era, and it around to making any reminded me instantly of an sort of hard critical early publicity shot of analysis of the Wally Norman Hackforth’s, which Stott recordings, though my sleeve notes did get as far as he put into his saying that “we can hear Coward at an interesting stage”. In an autobiography with the odd sort of way, the whole of the 50’s was also an interesting caption, “Me in the Thirties. stage for light music, and one realises that these last British (Sexy, huh?)”. recordings made by Coward form a very interesting historico- “I was born into a musical document in general terms, as well as providing extra generation which still took fascinating detail (e.g. in lyric variants) for the Coward nerd. light music seriously”, said The 50’s were “interesting” because they saw the last and in Coward in his introduction many ways the finest flowering of a tradition in British – and to The Noël Coward Song American – light music that was, like all flowers, at its best Book, and this new CD from immediately before its demise. We are talking here about the Vocalion (CDEA 6127) skills and accomplishments of that often-forgotten band of reassures us that there were accompanists, arrangers and orchestrators without whom many certain people still taking it of the very best-known names in light music entertainment very seriously over fifty would not have survived very long. This was the decade in years later. There is almost which Mantovani and his orchestra achieved worldwide not a single “dud” in this very wide selection of material renown, with several major international broadcasting hits recorded by the Wally Stott orchestra – nothing that could in among their instrumental renditions. It was not as if Mantovani any way be regarded as tasteless, nothing that is anything less was one of a kind either. There were also the orchestras led by than excellent musicianship. It’s light, it’s “easy listening”, George Melachrino and Sidney Torch, and equally well-known certainly, but it also rewards close listening, which is always was the Queen’s Hall Light Orchestra. Wally Stott and his the acid test. Orchestra operated in the midst of this kind of competition; and Not only that, but the CD sleeve reveals that this only forms it may be considered that Stott’s work as an orchestrator was at part of a very extensive least as inventive and original as any of them. series of reissues on The Wally Stott-Coward recordings sit delicately poised, Vocalion which between examples of the work of pre-War light music features this sort of orchestrators such as Clifford Greenwood, Francis M. music. Sidney Torch, Collinson and Ray Noble, and the altogether new post-War George Melachrino, light music “sound” of America exemplified in the work of Mantovani – they and Peter Matz. It is not as though there was any lack of quality in many others, including the musicianship of the former, merely that the orchestral Angela Morley as Stott “sound” was rather more traditional; but it also has to be said later became, are that Coward always moved with the best. The pre-War represented in orchestrators Coward worked with were the best in their field Vocalion’s CDEA in their day (they included Carroll Gibbons, after all), and Matz “light classics” series. was one of the very best in his field for a lifetime. Melachrino, Serious enthusiasts for light music should approach with Torch and the other light-music orchestrators of the 50’s were, caution! if nothing else, top craftsmen in their field and all first-rate Check out: www.duttonvocalion.co.uk musicians, and I do not think that Coward could have worked 7 SIMON GREEN AT JERMYN ST. CS members joined a packed house at the Jermyn Street theatre on Monday 3rd March 2008 to hear Simon Green accompanied by his musical director and pianist David Shrubsole in an evening of Coward songs. Many thought it was simply the best evening of Coward songs they had ever heard and included at least one Coward rarity found at The British Library ‘Couldn’t We Keep On Dancing’ the lyrics are by Coward and theN music is by Philip Braham. Simon trained at LAMDA. His London and West End appearances include; Lumiere in Beauty and the Beast (Dominion), Torasso in Passion (Queen’s), La Cenerentola (Drill Hall), March Of The Falsettos (Albery), Follies (Shaftesbury), Elegies (Criterion), Coriolanus (), Elmer Gantry (Gate), The Scarlet Pimpernel (Her Majesty’s), Lady Be Good (Regent’s Park and National Tour), Tony in The Boyfriend (Old Vic and Albery) and for the RSC: Tin Man in The Wizard Of Oz and Frank Schultz in Showboat in co-production with Opera North (Palladium and national tour). He has appeared in numerous television and radio productions and on film. His recordings include; ‘Take Me To The World’, Simon's Entire Simon Green - Solo cabaret (REYNOLDSCD01 2004), The Boyfriend, Follies, Passion, Salad Days, Elegies, Passion, Wizard of Oz, Showboat, Seven Brides for Seven Brothers, Kismet, College of Music, London. Most recently he has been the What About Love, associate conductor on Ragtime at the Piccadilly Theatre, Weill on Broadway, London. Before that he was the musical director for the U.K. , tour of Miss Saigon and the assistant musical director on My Annie Get Your Gun Fair Lady (, Theatre Royal, Drury and The Lady of the Lane). Simon’s website is: http://www.simongreensolo.co.uk/ Slipper for EMI. In cabaret Simon has been seen in London at The Pizza on Songs that were featured at the Jermyn Street Theatre were: the Park, The Oxo Tower, Leighton House, The October There have been songs in England - You were there Gallery, The Cafe Royal, The Mountbatten, The Jermyn Street Couldn’t we keep on dancing? - Where are the songs we sung? Theatre and Lauderdale House. In New York after appearing at A room with a view - I’ll follow my secret heart The Firebird, Simon made his Carnegie Hall debut in The Noël What’s going to happen to the tots? - Time and again Coward Centennial Gala, where he returned with Simon Green Wait a bit joe - London pride - I travel alone - Sail away - Solo the following year. Why must the show go on? - Three theatrical dames His musical director and accompanist is David Shrubsole an Twentieth century blues - Alice is at it again innovative and perfect musical partner for Simon. David I’ll see you again - This is a changing world studied composition, conducting, piano and bassoon at Trinity Someday I’ll find you - Come the wild, wild weather MOIRALISTER The final farewell to our Vice President n a bright sunny day Among those attending were and in Belgravia at the Nicholas Parsons. There was a reception afterwards at the church of St Mary Langtry Hotel, Pont St, SW1. in Cadogan Street a Moira’s movie-star glamour and Vicomtesse sophistication large congregation permeated the Stephan Welz/Sotheby's Decorative & Fine Arts attended a Memorial Requiem Mass sale at an auction in Cape Town earlier in the month when parts Ofor our late Vice President the of her estate were auctioned. Her collection of furniture and actress Moira Lister. Moira was objet d’art was mostly gilded, marbled and highly decorative. remembered under her married Some of these included gilt-and-marble Louis XVI and XV name of Moira Gachassin-Lafite, clocks and 19th century French-style chairs. Vicomtesse d’Orthez in a service Moira Lister 1923 - 2007 “Moira Lister's estate was full of decorative, ornate pieces that saw figures from stage and with lots of gilt, marble and sea scrolls, which embrace the late screen hear dedications and memories from Richard 19th century and reflect her impeccable taste,” said Vanessa O’Callaghan of the Catholic Stage Guild and Jeremy Crutchley. Phillips, consultant in charge of decorative arts at Stephan The Chief Celebrant at the Mass was Canon Vincent Berry. The Welz/ Sotheby's. “She lived in a glamorous world and her former Lourdes Diocesan Pilgrimage Director, Mgr Vladimir furniture reflects it.” Felzman, who is now a chaplain at the Sanctuary at Lourdes, “A portrait painted of her by Loughridge Gray in her gave the homily. There was a collection for Westminster Balmain ball gown gave an insight into the star and her look.” Diocese Lourdes Pilgrimage. Information provided by St Mary’s Church and Sotherby’s

8 Extracts provided by NCS Noël Coward and Formula One member Georgina Infield The Master’s social link with the world of motor racing, in ‘The Prince & I’ and a link with Gertrude Lawrence

he romantic story of the courtship, love and marriage the throne, and moved to England. The Princes Chula and Bira of Ceril, a young English girl and ‘B.Bira”, a Siamese thus became regular guests at the king's residence in Virginia Prince, racing driver and sculptor, set in the golden Waters. At that time, Prince Bira became interested in race car years of the Thirties, in a world now vanished and driving, and he had to get permissions to drive from both before Siam became Thailand.... well that is how the Prince Chula and the king. His first race was in 1935, at subtitle text on the cover of The Prince & I describes the Brooklands, driving for the "White Mouse," Prince Chula's Twritings of Princess Ceril Birabongse (Coward could not have team. The prince drove a “hyacinth blue” Riley Imp, which in invented a better name!) in her book about her life in the later time became known as “Bira Blue.” And, as one would Siamese kingdom. She recalls the time when she first met Bira say, the rest is history. Prince Bira was, and still is, the only when she was 17 and he was 20; three weeks later he asked her Siamese/Thai who made a name in race car driving for his to marry him! country. It could also be said that he had single-handedly put So begins the story of the passionate love of Bira, Prince of Siam/Thailand on the map. His first win came on 11 April 1936 Siam, grandson of King Mongkut (of The King and I fame and at the Monaco Grand Prix driving the “Bira blue” Era. Prince Gertrude Lawrence’s final Bira retired from racing in theatre musical), and the 1954. young Englishwoman who Prince Bira first married on their marriage became Ceril Heycock on 12 Princess Ceril Birabongse January 1938, whom he and a member of the met at the art school, the Siamese royal family. Their sister of his classmate. life, we are told, was They divorced in 1949. The constantly filled with prince then married an excitement and fascinating Argentinian named Chelita people, including Noël on 18 December 1951, and Coward, Princess Marina, they had a son - M.R. Duchess of Kent and even Biradej Bhanubhand. The Anthony Blunt and Guy prince moved back to Burgess. The Coward Thailand in 1956, intending connection is purely social on finding a job. Chelita as the book describes: followed but could not bare Noël Coward plays and sings after dinner at Rock, 1941 “We received many the life in Thailand and visitors, amongst which promptly moved back to were Bira’s gliding friends and also Mr Bassett-Lowke, whose France where they were living. They divorced that same year. Northampton factory made so many of his models and trains Their son lived with his mother until his death at 17 from liver (the prince was a model railway enthusiast). David Milford cancer. The prince finally married a much younger Salika Haven (the 3rd Marquess) who was stationed in Cornwall Kalantanonda, a Thai, in 1957. After Salika left him, and his visited frequently, and after he had been car business failed, the prince moved repatriated, Sir Josiah Crosby arrived to back to France, and then finally to tell us what had happened during the England. Japanese occupation of Bangkok. When Prince Bira died at Baron's Court Noël Coward was staying nearby he Underground Station in London on 23 came to dinner and spent the evening December 1985. He fell down with a singing to us. Princess Marina, whom heart attack, and no one knew who this Chula had met on several occasions, old Asian person was. A handwritten stayed in Rock with her children soon note was found in his pocket, and so after her husband the Duke of Kent was Yard sent it to be analyzed at killed in an air accident. The children Prince Bira and Princess Ceril the University of London, which came to play with Bira’s toys and trains” identified it as being written in Thai, Prince Bira was sent for education at Eton College at the addressed to Prince Bira. The Royal Thai Embassy was age of 13. He lost his mother when he was 4 years old, and 9 notified, which then realized that the old man was Prince Bira, years later on 13 June 1928, while studying at Eton, his father a forgotten hero who had once made such an impact for passed away. He was taken into custody by his elder cousin Thailand and whom all Siamese knew. A Thai funeral service King Rama VII. Later, HRH Prince Chula Chakrabongse took a was held at the Wimbledon temple, and the prince was later liking to Prince Bira, and asked the King's permission to act as cremated according to Thai and Buddhist customs. legal guardian, as they were both studying at Cambridge Throughout his life, Prince Bira remained in contact with University in England at the time. Prince Bira later left his first wife, Ceril, and often visited her and her companion, Cambridge and attended the Byam Shaw Art School. Bruno, in France. After Bruno's death, Ceril moved back to After Thailand changed from absolute monarchy to England, and met up with Prince Bira again in 1983. democracy in 1932, HM King Rama VII decided to abdicate Georgina Infield and John Knowles 9 Coward in California ‘Tonight at 8:30, Part Three’ and ‘The Better Half’ n March 1st and 2nd, a star-studded audience attended the U.S. premiere of Noël Coward’s The Better Half, the centerpiece of a glittering staged reading ofOTonight at 8:30, Part Three by the Antaeus Theatre Company at the Deaf West Theatre in North Hollywood. Directed by Jonathan Lynn, the performance by the Antaeus Ensemble blossomed into an evening replete with romance, nuance, and wit. At Deaf West, theatregoers were greeted with cocktails and canapés. A pre- show cabaret guided by musical director Matthew Goldsby hit the spot with Coward favorites, culminating in Harry Groener’s ‘Mrs Worthington’. (Three- time Tony nominee Groener returns to Broadway this summer to reprise his role as King Arthur in Spamalot.) The Antaeus Company for Tonight at 8:30 For Tonight at 8:30, Part Three, PHOTO: Michele K. Short Antaeus presented three plays: Ways and Means and Shadow Play (completing the cycle) and, with kind with one glance, her silent reaction expressing much more than permission from Alan Brodie, The Better Half. Each play takes her dull speeches. place in a bedroom in which a couple grapples with an aspect Shadow Play opens with Victoria Gayforth (Nike Doukas) of marriage: financial, physical, emotional. Three plays; three ready to take three Amytal and go to bed rather than attend a problems; three leading ladies dressed in red. party. Vicky’s friend Martha (Kitty Swink) exudes genuine Ways and Means satirizes a familiar triangle: a husband, a warmth and concern: a true friend, not a husband-snatcher. wife, and their lack of money. Stella (Gigi Bermingham) and Graceful and vulnerable as Vicky, Nike entrances the audience. Toby (JD Cullum) fight about their inability to cover their In her drug-induced dream state, Vicky reconnects with her enormous gambling debts or even to tip the servants in the husband Simon (Harry Groener) as they sing and dance just grand house they’re visiting. As the genial Toby, JD combines enough to whet the appetite for a full production. In his heart- charm and humor to manage Stella’s pushy ways. Stunning in a filled performance, Harry shines as the husband tangled in a scarlet shawl, Gigi’s clever Stella steers the action, all the while double triangle. The duet, ‘You Were There’, is especially remaining beautiful and disarming. Josh Clark is a delight as touching. In contrast, Simon and Vicky’s predatory and Stevens, the chauffeur-turned-honorable burglar who saves the annoying lovers—self-centered and petulant Sibyl (Francia day. In both Ways and Means and Shadow Play, Ensemble DiMase) and Michael (JD Cullum) - vex everyone. members Bill Brochtrup, Dawn Didawick, and Devon Sorvari Other than brief dances, Nike and Harry stand apart until round out the cast, providing extra punch in supporting roles. the last lines, when Nike moves to Harry’s side, nestling The Better Half. (Home Chat recently featured this “lost” comfortably in his arms as he promises, “It will be all right play and its revival: John Knowles and Barry Day (October now - it really will.” In this moment, director Jonathan Lynn 2007) and Barbara Longford (December 2007) provide provides a welcome glimpse of an infrequently-seen aspect of excellent descriptions of the play’s history and fall performance Coward: his tenderness. at Southwark.) Interview with Jeanie Hackett (January 25, 2008) In a work by Coward, if your name is Alice, you are itching My initial experiences as an actress were at the to be “at it again”. Francia DiMase sparkles as Alice Ruthven, Williamstown Theatre Festival. It was through my training and her ruby-red evening gown and diamond bracelets the work at Williamstown that I first encountered almost all the underscoring her dazzling delivery. She is a post-war Jazz major Coward plays, starting with Nude with Violin. Director Baby, style and sizzle steaming up the stage. A dead ringer for Nikos Psacharopoulos was really a wonderful director of the Arrow Collar Man, from his slicked-down hair to his no- Coward’s plays, so I fell in love with Coward as a young doubt starched undergarments, classically handsome David actress. I was lucky enough to play Joanna in Present Laughter Ruthven (Jeffrey Nordling) represses all genuine emotion and at the Pasadena Playhouse. is so infuriatingly bland and untouchable that you understand [Tonight at 8:30] One of our biggest concerns was: how can Alice’s tantrums. One can imagine that he played the entire role we make this not a series of one-acts, but actually something in noble profile. Balancing the triangle is the admirable Marion that flows as a production? So, one of the things I was most (Kitty Swink), the “gal pal”. Kitty brought down the house proud of was that a lot of the reviews mentioned the

10 cohesiveness of the whole production…. [It] really had a sort I’m so appreciative that the Coward Society was there to of harmony and symmetry: and that’s what an ensemble help us in such a variety of ways that made our production a company does. [There were six directors and] 44 actors. A large success. A final quest: the other unpublished play I’m trying to percentage of our membership had done Noël Coward plays, get my hands on is Volcano. Any leads? were very familiar with Noël Coward, and they were so Kathy Williams enthusiastic about the idea of presenting Tonight at 8:30, which Breaking News: Tonight at 8:30 (Part One and Part Two), had not been done completely in L.A. since 1942. reviewed by Don Gunn in February’s Home Chat, is a recent In my Antaeus classes, I teach a month-long workshop on nominee for “Best Revival of 2007” by the Los Angeles Drama Coward. Since Tonight at 8:30, I have been reading all the Critics Circle. [Awards to be presented March 17.] In addition, Coward plays I had missed: notably, Waiting in the Wings. by including Star Chamber in Tonight at 8:30, Antaeus We’re looking to do a workshop of that this summer. Coward achieved another Coward milestone in the U.S.: first includes fabulous roles that require such discipline and such presentation of all ten one-acts. control, plus there’s a comic range perfect for our company. NOTES FROM NEW YORK erhaps it is the popularity of Barry Day's “The Steve Ross must be one of Letters of Noël Coward” but there seems to be a new the busiest performers on the flurry of activity all across the country related to the planet. After closing an works of “The Master.” Forthcoming are several engagement at the Jermyn regional theatre productions of Private Lives. The Street theatre in London on revue, A Marvelous Party, which has already been seen in Saturday March 8th, he PChicago, Palm Beach, Boston, Los Angeles and most recently appeared at the New York Kansas City will open June 13th for a month at the prestigious Historical Society on Monday, ACT Theatre in Seattle. March 10th as part of the In May of 2009 Houston Grand Opera will presents the Society's American Musical world premiere of André Previn’s Brief Encounter, based on Project. Three concerts a year the classic film adaptation of the play Still Life by Noël highlight the work of various Coward. An honest and compassionate look at emotional composers. On this particular infidelity, the opera stars prominent singers Elizabeth Futral evening the concert was and Nathan Gunn in the roles played by and devoted to music of Noël Trevor Howard. Coward. It was hosted and Photo by Patti De Coward-related events continue at a busy pace in New Nancy Anderson and Steve Ross at directed by Simon Jones. the New York Historical Society. York. There are currently many cabaret performers entertaining Steve Ross was the Musical Steve is wearing Coward's smoking their audiences with the music of Noël Coward. Director and in performance jacket presented to him by Food for Thought at the Players Club on Gramercy was joined by Nancy Anderson The Noël Coward Society Park is offering staged readings of The Astonished Heart on and KT Sullivan. This delightful evening was enjoyed by a May 5th and June 5th (Ticket information - 212/362-2560) packed house, made up, in large part, of many NCS members. On April 25th the National Arts Club will present An enthusiastic group known as “Break A Leg NCS member Morrow Wilson in his presentation of Noël Productions” devote themselves to staged readings of only Coward 101 - songs and quips of “The Master”, directed by comic plays. They perform at the Mid-Manhattan Public acclaimed actress, Rue McLanahan. The musical direction is by Library. On March 11th they gave a delightful presentation of NCS member, David Lewis. As seating is very limited, it is Noël Coward's Come Into the Garden Maud with NCS member essential to reserve by April 13th (for reservations and Elowyn Castle and . NCS member Jerry Vermilye information, please contact [email protected]) is on the production staff. At the National Arts Club on February 25th at a black- NCS member Daryl Sherman is a popular jazz pianist tie dinner, NAC President Aldon James presented Steve Ross who performs regularly on Cole Porter's piano at the Walforf with the Club's gold medal for artistic achievement. The Astoria. She is currently on tour in England at various jazz evening was hosted by Donald Smith, Executive Director of venues. Among the places she has played, she was thrilled to The Mabel Mercer Foundation and included such entertainers perform at the Landmark Theatre in Teddington, the birthplace as singers, Julie Wilson, KT Sullivan, Gregory Moore and of “The Master”. violinist Aaron Weinstein. Ken Starrett

NEW RELEASE - Conversation Piece (GALA) NEW YORK 1951 $19.95 Audio CD (triple) with thanks to NCS member Gary R Planck

This 3CD set includes the Complete Recording of the 1951 New York production featuring Orchestra and Children's Chorus directed by Lehman Engel. Starring Noël Coward, Lily Pons and Cathleen Nesbitt. Also includes music from The Great Shows: Operette, Bitter-Sweet, Cavalcade and The Revues: London Calling, On With The Dance, This Year Of Grace, Cochran's 1931 Revue, Words & Music, The Lyric Revue. Buy at www.footlight.com

11 ‘THE LETTERS..’ Home Chat is the newsletter OBITUARY - John Hewer of The Noël Coward Society in paperback Actor John Hewer, who was best known wholly owned by ‘The Letters...’ will for playing Noël Coward Ltd. which is be out in paperback in ‘Captain Birds part of the charitable trust: September this year Eye’ in the The Noël Coward Foundation. priced at £15 as will popular fish Barry Day’s ‘Noël finger adverts, Officers of the Society are: Coward - In His Own has died aged 86. Chairman: Barbara Longford Words’ priced at £7.99. He played the role of the jovial naval Secretary: Denys Robinson Treasurer: Stephen Greenman captain from 1967 until 1998. The star, There are rumours Public Relations: Jan Penn of a new Coward who was a resident of actors' retirement North American Director: biography and other home Brinsworth House in Middlesex, Ken Starrett aids to the study of our hero - more on this as passed away on Sunday. It was as a Representative for Australia: things become clearer. stage actor that Hewer really made his Robert Wickham Film - EASY VIRTUE mark. Blessed with a magnificent voice, Representative for France: he was one of Hélène Catsiapis The planned film with the working title the stars of the Easy Virtue is progressing with a target release original Unless otherwise stated all of Autumn 2008. It stars Jennifer Biel, Kristin images and text are copyright Broadway Scott Thomas, Ben Barnes and Colin Firth. to NC Aventales AG production of NCS Australia Representative Robert Wickham All correspondence to: Sandy reports that the mother of one of his students The Editor, Wilson's has a part in the film; her name is Rebel 29 Waldemar Avenue, musical The Hellesdon, Norwich, Penfold-Russell. Boy Friend, NR6 6TB, UK The Noël Coward Collection starring Julie johnknowles@noëlcoward.net This 7 DVD delight is now available in PAL Andrews as Tel: +44 (0) 1603 486 188 format in Europe and is selling well. she turned 19, in 1954. The original Editor: John Knowles Broadway soundtrack album of the Noël Coward’s Verse Assistant Editor: BBC Radio 4 is to feature a programme on the show features Hewer giving particularly Ken Starrett poetry of Noël Coward on 31st August 2008 good performances on two of the finest Publication and Distribution: songs, ‘A Room in Bloomsbury’ and the Stephen Greenman (UK) Amateur Performances charming ‘I Could Be Happy With Ken Starrett (US) Blithe Spirit continues to be ‘top of the You’. He was also in the London Music Correspondent: pops’ as far as amateur productions are production of the Noël Coward musical Dominic Vlasto concerned followed some way behind by Hay Sail Away (1962) alongside Elaine Fever, Private Lives, Relative Values and Still Stritch. Contributions are invited from members of the Society. Life. For many years he was a long-time The editor reserves the right Theatre productions member of the ‘Players Theatre’ in to edit all copy, images and worldwide... London and he also went into decide on inclusion of items. management presenting music hall Details included in Blithe Spirit - John Kirkman is producing shows on Southend Pier. ‘What’s On?’ are as received, Blithe Spirit at Q Theatre, Sydney in the His TV credits included The Great with our thanks, from: Autumn of 2009 before touring Australia and Detective and the mini-series Nicholas Samuel French UK and New Zealand in 2010. Nickleby. Canada (Play Publishers and In 1971, an obituary for the Birds Author’s Representatives), Hay Fever - Opens at the Royal Ken Starrett (US), Eye character appeared in Exchange Manchester on 25th June for a six- Alan Brodie Representation week run. It is directed by Greg Hersov. newspaper after it was decided to retire (Professional Productions), him. A Marvellous Party - Chicago’s NCS members and However, that was only temporary theatre companies. Northlight Theatre Coward revue played and he returned to TV screens three a selection of forthcoming productions with details - see www.noëlcoward.net and www.noëlcoward.com for more... Kansas City in February 2008 and now visits years later. When he eventually did For details of rights for ACT (A Contemporaray Theatre), Seattle for retire from the role, actor Thomas professional productions: the whole of June 2008. Pescod took over. Alan Brodie Representation Present Laughter - The National In 1993, Captain Birds Eye was www.alanbrodie.com For amateur productions voted as the most recognised captain Theatre production has sadly now finished but Samuel French Ltd. there are plans for a Broadway run of the after Captain Cook in a poll. In France www.samuelfrench.com or successful Huntington Theatre revival starring he is known as “Captain Iglo” and in www.samuelfrench- Victor Garber in the 2008/9 season. Italy as “Capitan Findus”. london.co.uk For publishing rights: New York NCS Member Richard Holbrook presents Richard Sings Burton a musical Methuen program saluting the songs of the composer Burton Lane, (Finian's Rainbow and On A www.methuen.co.uk For music rights: Clear Day You Can See Forever, as well as many songs for over thirty motion pictures). Warner Chappell It will be presented in May at New York’s cabaret venue ‘Don't Tell Mama's’. WHAT’S ON? www.warnerchappell.co.uk 12