STAR
QUALITY by Noël
Coward
Venue: Milton Keynes 2001
Directed by Christopher Luscombe
Venue: Milton Keynes 2001
Directed by Christopher Luscombe
Cast
| Bryan Snow, Author of "Dark Heritage" | Nick Fletcher |
| Ray Malcolm, Director of "Dark Heritage" | Russell Boulter |
| Nora Mitchell, Lorraine Barrie's maid-cum-dresser | Marjorie Yates |
| Lorraine Barrie, Eleanor in "Dark Heritage" | Penelope Keith |
| Bothwell | Jasper |
| Harry Thornton, Stage Manager | Graham Ashe |
| Beryl Fletcher, Assistant Stage Manager | Fiz Marcus |
| Bob Deacon, Assistant Stage Manager | Andrew Coppin |
| Eric Larch, Aubrey in "Dark Heritage" | Magnus Hastings |
| Marion Blake, Stella in "Dark Heritage" | Una Stubbs |
| Gerald Wentworth, Mortimer in "Dark Heritage" | Peter Cellier |
| Laura Withy, Elise in "Dark Heritage" | Toni Kanal |
| Tony Orford, Ray Malcolm's Personal Assistant | Nick Waring |
Review
London Theatre Guide: Darren Dalglish
There is
something missing in Noel Coward’s final comedy, “Star Quality”,
laughs!!
This play was originally written as a short story in 1951 and was dramatised by Coward in 1966, but never produced. Only now is it receiving its world stage premiere and one can see why. It is an untidy piece of writing that lacks flair, laughs and a dramatic punch. Christopher Luscombe, who directs the play, has adapted Coward’s drama, but he has failed to bring any sparkle to the piece.
The story is set backstage of a new play that is destined for the West End. However, it has a volatile leading lady, Lorraine, and a brutal young director, Ray. A power game ensures and the innocent author of the play, and others, are caught in the crossfire.
This comedy certainly has potential as the premise is a good one, but it is not brought into fruition here. So what are the problems? Firstly and most importantly it just isn’t funny. There is the odd titter and a few scenes that are amusing, particularly the fight between Lorraine and Ray in the second act, but not much else. Secondly, Russell Boulter is miscast in the role of Ray. He does not bring enough ruthless sophistication to the role. Ray is meant to be an ambitious director who is determined to make his mark by dominating the cast. However, he lacks the passion to do this with conviction: even his tantrum, where he attempts to assert his will over the leading lady seems emasculated and rather ridiculous. Who would be intimidated by this? Certainly not Penelope Keith it would seem! And thirdly the play lacks pace and is certainly in need of some high camp! . However, Penelope Keith saves the day with a masterful performance as the temperamental leading lady, Lorraine Barrie. No miscasting here, she is perfect for the part with exceptional comic timing. Her acid tongue and facial expressions are a dream. What a pity the script is a nightmare!
The rest of the company do their best with a thin script, particularly Majorie Yates as Lorraine’s contemptuous dresser, but Una Stubbs is outrageously under used.
The play boasts an effective set design by Tim Goodchild, particularly evident at the start of the second act. A beautiful balcony scene with a sky and rippling blue sea backdrop is effortlessly and seamlessly transformed into a dressing room. These fluent set changes are consistent throughout the play. It is amazing how the simplest of sets can be the most effective!
The notices from the popular press have been good.............CHARLES SPENCER for THE DAILY TELEGRAPH liked the play saying, "Anyone who loves theatre and the often absurd people who make it happen, Star Quality turns out to be an unexpected treat." BENEDICT NIGHTINGALE for THE TIMES describes it as "malicious fun". NICHOLAS DE JONGH for THE EVENING STANDARD says, "Coward fails to impress" and describes the play as "Most undazzling" and goes on to say, "It's perverse to resuscitate this tired old script." PETER HEPPLE for THE STAGE says, "It is splendid entertainment - amusing rather than hilarious but shot through with wit, wisdom and a deep knowledge of the theatre based on Coward's own experience." MICHAEL BILLINGTON for THE GUARDIAN says, "It is not Penelope Keith's fault that we have to take Lorraine's star quality on trust: Coward never gives her a chance to display it." PAUL TAYLOR for THE INDEPENDENT says, "Ms Keith is a superb comedienne, but wayward theatrical magic is not part of her armoury." JOHN PETER for THE SUNDAY TIMES says, "A tough, elegant, hilariously observant light comedy of backstage life, complete with back-stabbing, sentimentality, hard work, cynicism and excitement."
Comedy is a medium where the enjoyment of it depends a lot on ‘taste’ so I’m sure some people will find this production amusing, but for me it is a disappointing play.
This play was originally written as a short story in 1951 and was dramatised by Coward in 1966, but never produced. Only now is it receiving its world stage premiere and one can see why. It is an untidy piece of writing that lacks flair, laughs and a dramatic punch. Christopher Luscombe, who directs the play, has adapted Coward’s drama, but he has failed to bring any sparkle to the piece.
The story is set backstage of a new play that is destined for the West End. However, it has a volatile leading lady, Lorraine, and a brutal young director, Ray. A power game ensures and the innocent author of the play, and others, are caught in the crossfire.
This comedy certainly has potential as the premise is a good one, but it is not brought into fruition here. So what are the problems? Firstly and most importantly it just isn’t funny. There is the odd titter and a few scenes that are amusing, particularly the fight between Lorraine and Ray in the second act, but not much else. Secondly, Russell Boulter is miscast in the role of Ray. He does not bring enough ruthless sophistication to the role. Ray is meant to be an ambitious director who is determined to make his mark by dominating the cast. However, he lacks the passion to do this with conviction: even his tantrum, where he attempts to assert his will over the leading lady seems emasculated and rather ridiculous. Who would be intimidated by this? Certainly not Penelope Keith it would seem! And thirdly the play lacks pace and is certainly in need of some high camp! . However, Penelope Keith saves the day with a masterful performance as the temperamental leading lady, Lorraine Barrie. No miscasting here, she is perfect for the part with exceptional comic timing. Her acid tongue and facial expressions are a dream. What a pity the script is a nightmare!
The rest of the company do their best with a thin script, particularly Majorie Yates as Lorraine’s contemptuous dresser, but Una Stubbs is outrageously under used.
The play boasts an effective set design by Tim Goodchild, particularly evident at the start of the second act. A beautiful balcony scene with a sky and rippling blue sea backdrop is effortlessly and seamlessly transformed into a dressing room. These fluent set changes are consistent throughout the play. It is amazing how the simplest of sets can be the most effective!
The notices from the popular press have been good.............CHARLES SPENCER for THE DAILY TELEGRAPH liked the play saying, "Anyone who loves theatre and the often absurd people who make it happen, Star Quality turns out to be an unexpected treat." BENEDICT NIGHTINGALE for THE TIMES describes it as "malicious fun". NICHOLAS DE JONGH for THE EVENING STANDARD says, "Coward fails to impress" and describes the play as "Most undazzling" and goes on to say, "It's perverse to resuscitate this tired old script." PETER HEPPLE for THE STAGE says, "It is splendid entertainment - amusing rather than hilarious but shot through with wit, wisdom and a deep knowledge of the theatre based on Coward's own experience." MICHAEL BILLINGTON for THE GUARDIAN says, "It is not Penelope Keith's fault that we have to take Lorraine's star quality on trust: Coward never gives her a chance to display it." PAUL TAYLOR for THE INDEPENDENT says, "Ms Keith is a superb comedienne, but wayward theatrical magic is not part of her armoury." JOHN PETER for THE SUNDAY TIMES says, "A tough, elegant, hilariously observant light comedy of backstage life, complete with back-stabbing, sentimentality, hard work, cynicism and excitement."
Comedy is a medium where the enjoyment of it depends a lot on ‘taste’ so I’m sure some people will find this production amusing, but for me it is a disappointing play.