By Noel Coward
American Airlines Theatre, 227 West 2nd Street, New York
January 22 2010
I broke my own rules and paid full price for an orchestra seat at the revival of Noel Coward’s “Present Laughter.” This play is the latest vehicle for Victor Garber whose manifold talents were said to brighten even Broadway’s lights. The play had a RAVE review in the New York Times and I was itching to see something truly wonderful and this seemed to be it.
All of the actors, and Victor Garber most particularly, walked through the play, speaking their lines in monotone. There was no energy, no interpretation, no acting, no presence, and no laughter.
I don’t understand it. Everyone in it, not only Mr. Garber, was a famous actor with years of experience. The only explanation I can come up with is that the play was regarded as an iconic set piece which had to be delivered with starched postures and clipped English vowels typical of the more tawdry Sunday night broadcasts on Masterpiece Theatre. In these travesties, evidence of proper delivery is provided when the performance is as stilted as an amateur production in which no one knows where to stand and takes a prompt for each line. Thus was "Present Laughter."
No matter; the success of my evening was assured because I left at the first interval, abandoning my $116 to the ill gotten gains of the Broadway machine and wantonly threw good money after bad at dinner at the luxe (and louche) Standard Hotel down near W13th Street instead. There I celebrated my relief at being out of the pit of despair that was orchestra row G seat 37.
Judging by the envious glances given by my fellow sufferers who were less brazen about making their escape, I was not the only one who felt this way.
American Airlines Theatre, 227 West 2nd Street, New York
January 22 2010
I broke my own rules and paid full price for an orchestra seat at the revival of Noel Coward’s “Present Laughter.” This play is the latest vehicle for Victor Garber whose manifold talents were said to brighten even Broadway’s lights. The play had a RAVE review in the New York Times and I was itching to see something truly wonderful and this seemed to be it.
All of the actors, and Victor Garber most particularly, walked through the play, speaking their lines in monotone. There was no energy, no interpretation, no acting, no presence, and no laughter.
I don’t understand it. Everyone in it, not only Mr. Garber, was a famous actor with years of experience. The only explanation I can come up with is that the play was regarded as an iconic set piece which had to be delivered with starched postures and clipped English vowels typical of the more tawdry Sunday night broadcasts on Masterpiece Theatre. In these travesties, evidence of proper delivery is provided when the performance is as stilted as an amateur production in which no one knows where to stand and takes a prompt for each line. Thus was "Present Laughter."
No matter; the success of my evening was assured because I left at the first interval, abandoning my $116 to the ill gotten gains of the Broadway machine and wantonly threw good money after bad at dinner at the luxe (and louche) Standard Hotel down near W13th Street instead. There I celebrated my relief at being out of the pit of despair that was orchestra row G seat 37.
Judging by the envious glances given by my fellow sufferers who were less brazen about making their escape, I was not the only one who felt this way.
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