Have for a long time loved viewing the live cinema streamings of the National Theatre Live series. So many gems in the series and very few misses, and what strikes me about watching these productions are how they are made available so accessibly while making one feel like they are there. Have always been an admirer of Noel Coward, especially his songs, and 'Present Laughter' is unmistakable Coward and one of his best, funniest and most inventive plays.
Of all the National Theatre Live productions seen recently, this production of 'Present Laughter' is one of the best, funniest and most inventive, so very like the source material. Despite the modern updated setting, the spirit of the play is still intact and Coward's style really comes to life in a way not seen very much in recent years. While feeling very fresh and never stagy, and it doesn't feel like there is too much of a clash stylistically (which can be the case with this type of play).
The production values, which is basically a single set room, throughout are very tasteful, it's not the original setting but it looks appealing (with the stylising not looking cheap) and is used cleverly. Especially liked the inward curved high windows, something this reviewer doesn't see an awful lot watching plays. The costumes are similarly tasteful and don't look like a mishmash in style.
In terms of stage direction, the production is always hugely compelling and entertaining. The length just flies by, and the frantic pace didn't feel too much or rushed, and the idea to have the farce being played big and extreme was a good move and didn't ever feel excesssive. It's also a valid interpretation, with the acting style back in Coward's day being quite theatrical and farce often is exaggerated, as are many of the play's timeless events that are still relevant today. So no complaints there. Nothing feels overdone, gratuitous or gimmicky, with the comedy being hilarious.
A great job is also done with the directing of Coward's self-love letter/self-caricature character Garry, a complex character that is an uncompromising but not heavy handed depiction of a man trapped by fame and self-image, to the point where the rest of the characters are unsure what he is like really. The characters are broad but didn't feel stereotyped.
Cannot fault the acting much, apart from the rather bland one dimensional performance of Abdul Salis, but he doesn't have much to work with. Andrew Scott however is exceptional, a performance of smoldering charisma, masterly comic timing, nuance in more intimate and real scenes where the real Garry is seen and rich in expression. Sophie Thompson and Luke Thallon particularly sparkle out of the rest of the cast, and much enjoyment was gotten out of Liza Sandovy's increasingly eccentric housekeeper.
Summing up, absolutely excellent. 9/10.
Of all the National Theatre Live productions seen recently, this production of 'Present Laughter' is one of the best, funniest and most inventive, so very like the source material. Despite the modern updated setting, the spirit of the play is still intact and Coward's style really comes to life in a way not seen very much in recent years. While feeling very fresh and never stagy, and it doesn't feel like there is too much of a clash stylistically (which can be the case with this type of play).
The production values, which is basically a single set room, throughout are very tasteful, it's not the original setting but it looks appealing (with the stylising not looking cheap) and is used cleverly. Especially liked the inward curved high windows, something this reviewer doesn't see an awful lot watching plays. The costumes are similarly tasteful and don't look like a mishmash in style.
In terms of stage direction, the production is always hugely compelling and entertaining. The length just flies by, and the frantic pace didn't feel too much or rushed, and the idea to have the farce being played big and extreme was a good move and didn't ever feel excesssive. It's also a valid interpretation, with the acting style back in Coward's day being quite theatrical and farce often is exaggerated, as are many of the play's timeless events that are still relevant today. So no complaints there. Nothing feels overdone, gratuitous or gimmicky, with the comedy being hilarious.
A great job is also done with the directing of Coward's self-love letter/self-caricature character Garry, a complex character that is an uncompromising but not heavy handed depiction of a man trapped by fame and self-image, to the point where the rest of the characters are unsure what he is like really. The characters are broad but didn't feel stereotyped.
Cannot fault the acting much, apart from the rather bland one dimensional performance of Abdul Salis, but he doesn't have much to work with. Andrew Scott however is exceptional, a performance of smoldering charisma, masterly comic timing, nuance in more intimate and real scenes where the real Garry is seen and rich in expression. Sophie Thompson and Luke Thallon particularly sparkle out of the rest of the cast, and much enjoyment was gotten out of Liza Sandovy's increasingly eccentric housekeeper.
Summing up, absolutely excellent. 9/10.
