Review: PRESENT LAUGHTER, National Theatre At Home

The National Theatre At Home's website is a Rolodex of some of the theatre's greatest productions to date, an ever-updating library of acting royalty. On 6 December, the site is welcoming the arrival of Noël Coward’s Present Laughter - as staged at The Old Vic in the summer of 2019, along with The Grapes of Wrath.

Matthew Warchus’ production’s stellar cast (Andrew Scott and Indira Varma both won 2020 Oliviers for this production) brings its own expectations. They star as the separated but yet-to-be divorced couple, Garry and Liz Essendine. Such are their larger-than-life personalities, that we’re kept guessing about whether it’s all for show or if it’s fundamentally who they are.

The cast is rounded off by Joshua Hill as Garry’s ever-so-real Valet, Fred; Kitty Archer as one of Garry’s many (many) admirers, Daphne Stillington; Luke Thallon as Roland Maule, a budding playwright with a slightly overheated addiction to Mr Essendine; the always so ‘charming’ (and destined to be your favourite character) Monica Reed is played by Sophie Thompson; Abdul Salis and Suzie Toase star as manager-producer duo, Morris and Helen respectively; Helen’s ‘wandering’ (for one of a better word) husband, Joe, is played by Enzo Clienti. Wrapping up the cast list, Liza Sadovy stars as maid and medium, Miss Erikson. 

Present Laughter tells of Garry Essendine, an actor and producer in London who is preparing to go on a theatrical tour of Africa, when news of a potential affair, in both the friend group and theatre firm, comes to light. Garry’s loved ones try to support him through not only the tour, but also in how he deals with his obvious loneliness. What they fail to realise is that the only person who may actually be committed to being their authentic self is, in a very weird turn of events, Garry himself! A perfect comedy emerges. 

As you would expect, this 21st century version of Coward’s provocative play has seen a fair few changes from the original 1942 production. 

Firstly, let’s talk about the queer representation this adaptation beautifully brings to light. Coward initially wrote the part of Garry as a man who filled his loneliness with evening after evening in the company of women whom he barely knew - even spending a night with the wife of his longtime friend and producer. But Warchus has added an even deeper level to Mr Essendine’s antics. The production sees a gender-swapped cast for a few of the supporting characters. Toase’s character, Helen, was originally that same producer, Henry; and Helen’s wandering husband, Joe, was initially her cheating wife, Joanna. 

Nothing about the plot essentially changes, however, showcasing a complex and beautifully told story of openly (and some not-so-openly) queer characters in a setting where the plot isn’t necessarily about their sexuality - it is a part of them, not the totality  of them. 

The play is genuinely side-splittingly funny from start to finish, with powerful scenes of tenderness and humanity to ensure those moments of comedy truly land.

Andrew Scott’s versatility should be studied. The fluidity of his portrayal of Garry Essendine is beautifully orchestrated as if each thought were new, were genuine - he defines ‘truth in the moment’. His vocal gymnastics are both something to be in awe of, but also to hang on to as a key element of the storytelling. From changes in intonation, to completely random tempo changes, Scott hilariously and effortlessly has the audience, and in most cases, the cast, in the palm of his hand - and, sure enough, he milks it for what it is worth, in the best way possible. 

A

lthough every cast member had their own opportunity for sending the audience into fits of laughter, it was the earthly rootedness of Varma’s character, Liz, that kept me drawn in during moments of chaos. Varma is effortlessly funny, it’s part of who she is. Every joke lands because she just simply is that funny. I won’t spoil too much, but Varma’s humanity in the piece, specifically towards the end, really steals the show, and complements Scott’s theatrical dramatics perfectly.

Present Laughter is an ideal show to watch with loved ones this festive season: from its humour and clever comedy, to its stunning portrayal of real people living. The simplistic, yet stellar, portrayal of queer characters in a play that was not originally dedicating space for them, is something that makes this piece so special. Chemistry, comedy, and chaos - the perfect evening of theatre that you will not want to pause (even though now you can).

All that entertainment, and yet Warchus’ reimagined production also goes straight into my ever-growing list of ‘plays you must see to understand the complexity of people’. 

Present Laughter drops onto the National Theatre at Home website on 6 December, alongside The Grapes of Wrath (subscription required).

Photo Credits: Manuel Harlan

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