Present Laughter

Noel Coward’s Present Laughter has graced the stage for decades, and the sparkling gala opening at The Green Room, Wilmslow, brought a fresh vibrancy to this classic comedy.

This version was set in the glamorous 1950s (with lots of lovely prop and costume choices), the play invites the audience into the chaotic world of a successful actor preparing for a tour while navigating an entwined web of romantic entanglements and professional dilemmas. The unique seating arrangement at The Green Room, with the audience on two sides, always creates an intimate atmosphere that drew us into the heart of the drama on their special opening of this wonderful play.

Cooper’s portrayal of Garry was nothing short of mesmeric. He captured the character’s flamboyance and charm with a delightful authenticity that made his journey feel both relatable and riveting. His energy was palpable, and the softer moments, where vulnerability seeped through his confident facade, were beautifully played, leaving the audience hanging on his every word. Congrats!

Emma Crosbie as Liz Essendine provided a robust counterpoint to Garry's theatricality. Her portrayal exuded strength and stability, grounding the chaos around her. The dynamic between them felt genuine, oscillating between affection and exasperation, enhancing the authenticity of their relationship. Well done!

Jane C. Hyde, as Monica Reed, brought a wonderfully sardonic edge to her role. Her cutting remarks and poised control perfectly contrasted with Garry’s flamboyance. Yet, amidst their fractious exchanges, moments of tenderness emerged, marvelously played and utterly believable, showcasing the complexity of their bond. Jane alongside Tim elicited some of the biggest laughs of the evening.

Eilidh Pollard’s Daphne Stillington, was a delight; her vocal modulation perfectly encapsulated the era’s charm, making her a joy to watch. Chris de Mercado as Roland Maule injected infectious energy into the mix, his character alternating between over-eagerness and naivety, providing extra chaos while remaining somehow, endearing.

The supporting cast - Paul Reid’s Morris Dixon, in love but steadfast, and David Reynolds’ no-nonsense Henry Lyppiatt added layers to the narrative. Cherrill Wyche’s Miss Erikson delivered a delightful matter-of-factness and open and humourous facial play, indeed as the piece continued, all she had to do was enter the space to set the audience off giggling. Diana Boswell as Lady Saltburn captured the essence of the period beautifully, while Rani Jackson’s Joanna Lyppiatt brought an alluring seductiveness to the proceedings. Colin Rice’s cheeky valet, Fred, added a layer of knowing humour that complemented the ensemble perfectly -a very solid performance. 

The direction, by Matthew Smith, was adept, balancing Coward's sharp wit with a light-heartedness that felt fitting for the era. The intricacies of the relationships were explored with nuance, allowing the characters' complexities to shine through and the stage geography had been considered and gave each audience member great angles of action.

Ultimately, the highlight of the evening was undoubtedly Tim Cooper's performance. His ability to encapsulate the soul of Garry Essendine, with all his charm, flaws, and vulnerabilities, left a lasting impression. This production of Present Laughter is a testament to the timelessness of Coward’s work, and this cast’s various talents certainly bought into that whole-heartedly.

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