Coward The Playwright

A reissue in hardback of critic John Lahr's famous 1982 study of Noël Coward's plays"Noël Coward," said Terence Rattigan, "is simply a phenomenon, and one that is unlikely to occur ever again in theatre history." A phenomenon he certainly was, and it is part of John Lahr's purpose in this book to show how that phenomenon called "Noël Coward" was largely Coward's own careful creation. Lahr's penetrating critical study of Coward's drama investigates all the major and minor plays of "The Master". Private Lives, Design for Living and Hay Fever make a fascinating group of "Comedies of Bad Manners". Blithe Spirit and Relative Values raise the "Ghost in the Fun Machine". Lahr then goes on to explore the "politics of charm" oozing through The Vortex, Easy Virtue and Present Laughter. In all Coward's plays Lahr uncovers a coherent philosophy in which charm is both the subject of Coward's comedies and the trap which made his very public life a perpetual performance.

Published in 1924, "The Vortex" is a play in three acts by the English writer and actor Noël Coward. The play depicts the sexual vanity of a rich, ageing beauty, her troubled relationship with her adult son, and drug abuse in British society circles after the First World War. The son's cocaine habit is seen by many critics as a metaphor for homosexuality, then taboo in Britain. Despite, or because of, its scandalous content for the time, the play was Coward's first great commercial success.

This is the first book-length work to draw extensively on unpublished archive material to document the composition and reception of some of Noël Coward's most significant plays. It examines his working practices as a playwright, from manuscript to performance. This study argues that, while he did not embrace any of the more radical theatrical 'isms' of his time, Coward experimented with both form and content. He adapted the familiar 'well-made' formulas, while also emphasizing theatrical self-consciousness and an exploration of radical social and sexual relationships. After an overview of Coward's career and the reception of his plays, the work discusses selected texts from successive phases of Coward's career, including some unproduced or uncompleted work and perennially popular plays such as The Vortex, Hay Fever, Private Lives, Design for Living, Blithe Spirit and Present Laughter. This study also explores how, in the aftermaths of two world wars, as major changes in social and political circumstances suggested new approaches to dramaturgy, Coward's post-1945 work failed to achieve the same success he had enjoyed in earlier periods. The final chapter examines Coward's approach to his craft in response to the new theatrical and cultural environment, and the new freedom in the treatment of homosexuality represented by Suite in Three Keys and his final, uncompleted play, Age Cannot Wither.

Noël Coward on theatre was as dazzling and entertaining as his masterful plays and lyrics. Here his ideas and opinions on the subject are brilliantly brought together in an extraordinary collection of commentary, lyrics, essays, and asides on everything having to do with the theatre and Coward's dazzling life in it. The book Noël Coward wanted, promised, threatened to write—and never did. Including essays, interviews, diary entries, verse, his views on his fellow playwrights: "My Colleague Will," Shaw, Wilde, Chekhov, Barrie, Maugham, Eliot, Osborne, Albee, Beckett, Miller, Williams, Rattigan, Pinter, and Shaffer. Coward on the critics—many of whom irritated him over the years but came to admire him: James Agate, Alexander Woollcott, Graham Greene, Kenneth Tynan among them. And on the plays he wrote, among them: The Vortex; Hay Fever; Private Lives; Design For Living; Blithe Spirit. Here is the Master on the producers who crossed his path: André Charlot, C. B. Cochran, Binkie Beaumont. And the actors in the Coward galaxy: John Gielgud, Laurence Olivier, Gertrude Lawrence, the Lunts, etc. . . . His views on the art of acting: auditions, rehearsals, learning the lines, clarity of delivery, timing, control, range, stage fright, fans, theater audiences, revivals, comedy, "the Method," plays with a "message," taste, construction, "Star Quality," etc. . . . And last, but Noël Coward least, his experience in, and thoughts on: revue, cabaret, television, and musical theater, Bitter Sweet, Conversation Piece, Pacific 1860, After the Ball, Ace of Clubs, Sail Away, The Girl Who Came to Supper, Words and Music, This Year of Grace, London Calling! . . . and much more. Ingeniously, deftly compiled, edited, and annotated by Barry Day, Coward authority and editor of The Noёl Coward Reader and The Letters of Noёl Coward.

The Noël Coward Reader offers a wonderfully wide-ranging selection—the first of its kind—of the best of the Master’s oeuvre, entertainingly annotated and abundantly illustrated, and including material that has never before been published. Here are scenes from Coward’s famous plays, from Private Lives to Blithe Spirit, and his screenplays, from Brief Encounter to In Which We Serve. Here are four of his best short stories, scenes from his only novel, and a generous selection of his verse, alongside the lyrics of many of his most sublime songs, including “Mad Dogs and Englishmen,” “The Stately Homes of England,” and “Mad About the Boy.” The Noël Coward Reader is a must-have book both for those who adore his work and for those who are just discovering the many-faceted delights of his comic genius.

The plays in this volume demonstrate the extraordinary skill and versatility Coward's writing achieved in the late 1920s. The volume contains his best-loved classic, Private Lives, which was an immeditate hit when it was first staged in 1930. Coward's sparkling dialogue and repartee have ensured the play's popularity ever since. Of Bitter-Sweet in 1929 Noël Coward wrote that it was "a musical that gave me more complete satisfaction than anything else I had yet written. Not especially on acount of its dialogue or its lyrics or its music or its production but as a whole." The Marquise is an "eighteenth century comedy" filled with maids and duels, whilst Post-Mortem is a vilification of war that contains some of Coward's most powerful writing.

Coward's 'forgotten' play, published to tie in with its world premiere. In his wickedly funny final play, NöeI Coward takes us behind the scenes of a new West End production. Conjuring up an authentic backstage world of talent and treachery, Coward creates a gallery of unforgettable characters; temperamental leading lady, ruthless director, jaded old troupers and, caught somewhere between them all, innocent young playwright. From tentative first rehearsal to triumphant opening night, the clash of egos becomes increasingly and hilariously bloody. But what emerges from the mayhem is a startling evocation of that most elusive gift of all - star quality. This edition, adapted by Chris Luscombe and introduced by Sheridan Morley, is published to coincide with the play's West End premiere in October 2001.