Newtown’s New Theatre, as a rule, is home to edgy, dark plays that generate after show discussion. Occasionally a light piece is thrown in to their annual mix and this is one of these occasions.
Their decision to include Noel Coward’s farce PRESENT LAUGHER is a master stroke. Coward, in fact, was known in the theatre as the Master, a master playwright, with a talent to amuse, which was the title of the definitive biography about him.
With PRESENT LAUGHTER, Coward displays his talent to amuses to great effect. We are drawn in to the world of celebrated playwright, Garry Essendine.
Whilst Garry enjoys a successful, rich, glamorous life, there are also big drawbacks. There’s little privacy for him, as he has to deal with a host of people who see him as the gateway to the dazzling world of stage and screen. He is becoming a nervous wreck. He tells everyone that he is going to Africa to escape his predicament or is this just a ruse?!
The New Theatre put on a well put together, high spirited production of this comedy classic. If only one could bottle the great energy that was there, on stage.
The show has been well directed by the company’s Artistic Director Louise Fischer. Together with her design team; another fine set design by Tom Bannerman, lighting and sound design by another veteran Michael Schell, co-costume designers Deborah Mulhall and Helen Kohlhagen, and dialect coach Helen Tonkin, they have calibrated an evocative, resonant stage world for the actors to work in.
The cast were accurate and invested in their portrayals. The were my favourite performances.
Peter Eyers was very solid in the lead role, depicting a vain, self ensconced, charismatic but floundering Garry.
Whilst Garry was the dreamer, Molly Haddon played his much more grounded and sympathetic ex wife, Liz. Haddon’s all knowing expression at Garry’s shenanigans, kind of said it all.
Emily Weare was a gem as Garry’s exasperated but meticulous secretary, Monica, who managed to keep his schedule going.
Lib Campbell took to the role of the feisty, seductive and manipulative Joanna. Here was a super trouble maker, especially to Garry. This was a good role to play, and Lib played it with panache.
Larissa Turton convinced as the young, starstruck and very wilful Daphne who believes that she can win Garry.
Liz Grindley was a real stand-out in two very different roles. For most of the play we saw her as Garry’s very elderly, frail housekeeper who could barely make it across to the stage. She played it in a very comic way.
Then, late in the play, much to our surprise, she took on a second role, that of the over the top society matron, Lady Saltburn, who is intent on Garry finding a place for Daphne in the world of theatre. This lady could do much more than just burn salt!
Liz was a true star, being able to play well such two contrasting roles.
Luke Visentin gave a very comic performance as the far too frenetic and earnest Roland, a young, not very talented playwright, who so wanted to be part of the mainstream theatrical world, though he clearly would not fit in. Garry can’t run away from him fast enough.
Oliver Harcourt- Ham caught the eye with his portrayal of Garry’s unflappable valet, Fred, who, with deadpan wryness, looks on at the chaos in his master’s world.
One of the things that came across during the performance was that Garry did not quite know when he was being real or when he was acting. A tricky distinction. Let’s not forget what the Bard said, ‘all the world is a stage, and all the men and women mere players’.
It is the players that are the true allure in this fine show playing the New Theatre, 542 King Street, Newtown until it exits on the 15th December 2025.
