Noel Coward's totally-irresistible comedy, Present Laughter, follows a self-obsessed actor (is there any other kind?) in the midst of a mid-life crisis. Freely indulging his considerable appetite for wine, women and sleeping late (not necessarily in that order), the theatre's favorite leading man suddenly finds himself caught between fawning ingenues, crazed playwrights, secret trysts and unexpected twists.
Present Laughter first premiered on Broadway at the Plymouth Theatre in 1946, following an immensely successful wartime tour starring Coward himself. One of his most produced and beloved works, Present Laughter has come to define Coward's singular comedic voice for generations of theatergoers. In addition to Coward, some of the world's most accomplished stage actors, including the likes of Albert Finney, Peter O'Toole, and Ian McKellen, have played the lead role.
The result is that laughter is only intermittently present. It feels lugubrious and weighty rather effortless. Our taste for the kind of theatrical vanity encapsulated by Essendine has long waned and it seems incongruous that his theatre career could support such a large permanent staff, including housekeeper, valet and secretary, or allow his house to look like Victoria station, with so many people coming and going.
Kline appears to be having the time of his life onstage at the St. James Theatre, where the latest Broadway revival of this 1939 drawing-room comedy opened Wednesday. It's a fast-paced and straightforward production, directed by Moritz von Stuelpnagel, featuring two equally delightful and delighted costars - the goofily irresistible Kristine Nielsen as Essendine's stalwart secretary, Monica, and Kate Burton, steely and wry as his devoted not-quite-ex-wife, Liz - plus a mixed bag of supporting players and a jam-packed Edwardian flat of a set, designed by David Zinn, that gets its own entrance applause.
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