Well Constant Reader what can I say? I was so entertained by the two Noel Coward one-act plays that I booked for the last performance of the National Theatre's production of his comedy (and whopping star vehicle) PRESENT LAUGHTER.

Coward wrote the play in 1939 but it's premiere was cancelled as it was due to start the week war was declared and had to wait until 1942 before it was staged. Over the years it has been revived frequently with actors who lean towards the showy - O'Toole, Sinden, Callow, McKellen - and now it was the turn of Alex Jennings. After having been impressed with his performances in THE ASTONISHED HEART and STILL LIFE I was curious to see him in the blazing star role that Coward wrote for himself of Garry Essendine, an unashamedly self-centred West End leading man.

It's a very strange role, a character that it is difficult to like but very easy to enjoy as he shamelessly manipulates all around him. Essendine is always 'on', even in an empty room you suspect he would play to the mirrors and framed photographs. The two people whose eyes he cannot pull the wool over are his no-nonsense, seen-it-all secretary Monica and his ex-wife Liz, both of whom handle him with the resigned air of a parent with a sulky child.


The play opens with him once again having to declare undying love for yet another starstruck deb who has stayed the night just so he can get shot of her to prepare for an upcoming tour of Africa (of all places). News that his leading lady has pulled out means that he is saddled with the only available option: having to appear opposite Joanna, the predatory actress wife of his manager (who he knows is also having an affair with the manager's business partner).

The next night while alone at home, Joanna appears and after a quarrel where they both show their dislike for the other... yes you guessed... she stays the night. And she makes it plain she is *not* about to be given the heave-ho in the morning. If this wasn't enough, Garry is also having to fend off the stalkerish attentions of a young playwright whose avant-garde play he has turned down.

 

I suspect one's enjoyment of the play rests squarely on the lead actor and luckily Alex Jennings was excellent. He had the timing of death and the perfect style for Coward, seriously frivolous. He showed glimpses of the real Garry behind the theatrical posturing and outrageous damands, a man aware he is becoming his own creation.

There were fine performances too from Sarah Woodward as Monica the brusque secretary (although I have seen her play that sort of role before) and Sara Stewart as Liz his practical and knowing playwright ex-wife. The other performances were ok but were easily overshadowed. Lisa Dillon as the scheming Joanna had some good moments but could have done with shading the character more as Coward stacks the play fairly well against her.

A spectacular set by Tim Hatley filled the Lyttleton stage (see Owen's sneaked photo here) and Jenny Beavan's evocative costumes held the attention when Howard Davies direction seemed to simmer rather than percolate.