Quick wit that harks to a theatre era gone byRating
Good
Noël Coward’s name looms large in London’s theatre legacy, which made me wonder why I had not heard of Fallen Angels before this revival exactly 100 years after the play’s premiere. he foyer full of tweed coats hinted at why; Fallen Angels is a once-scandalous play that now reads safe, its redeeming screwball comedy style harking to a theatre era gone by.
Almost banned in 1925 for its daring discussion of female premarital sex, Coward’s farcical play follows the close friendship of two married women whose former French lover, the oft-mentioned Maurice DuClos, writes to say he will be visiting them in London. A night of tipsy laughs, sharp conversation and petty quarrels forms the majority of the play, as the women negotiate loyalty, friendship and love in anticipation of their former flame’s visit (and in the absence of their golfing husbands). The honest discussions of lust, repressed desire and the sense of being underappreciated in marriage are the plot’s real highlight. It remains unfortunately rare to see such frank displays of female desire on stage – especially from older female characters – even a century later.
The amusing performances by Janie Dee as Julia and Alexandra Gilbreath as Jane are the backbone of the piece. Their witty timing, excellent physical comedy and endearing onstage chemistry extract the brilliance from Coward’s partially outdated plot. The energetic delivery from all cast members reminds us why Coward’s crafted dialogue remains timeless. Sarah Twomey particularly shines as Julia’s maid, Saunders, whose endless list of unexpected talents garners the most audience laughs of the evening.
Despite her novelty talents, Saunders remains the butt of the joke as the lower-class maid who forgets her place and fetches drinks on command, even changing her name to her employer’s preference. The exoticised French beau, quips about what is deemed acceptable in “England” and the dim, jack-of-all-trades maid remind us that this is a play rooted in a twentieth century, bourgeoisie sensibility that feels unimpressive to contemporary audiences.
This traditional production risks falling flat narratively, yet it opens the door for excellent set, costume and wig design work. Fotini Dimou’s costuming appears wonderfully lived in, with Jane’s pompous coat hinting at her more “brazen” personality compared to Julia’s more reserved, sophisticated and gratingly “superior” manner before either character has even opened their mouth. The luxurious European-style tailoring of Maurice’s suit also contrasts with both husbands’ distinctly English countryside apparel and patterned knee-high socks, beautifully setting up the evening’s laughs. Simon Higlett’s set, a realistically decorated 1920s London flat, also charms in small elegant details.
Despite its impressive cast, clever artistic design and overall sophistication, this one-note production remains too traditional to inspire. While Fallen Angels cannot promise groundbreaking theatre, contemporary audiences should not underestimate Coward’s timeless wit and well-crafted dialogue when performed with such skill as this cast deliver.
Written by Noël Coward
Directed by Christopher Luscombe
Set design by Simon Higlett
Costume design by Fotini Dimou
Wigs and makeup by Betty Marini
Fallen Angels plays at Menier Chocolate Factory until Saturday 21 February.
