the Present Laughter by Noël Coward
Nearly 2500 years, theater was how drama was shown to spectators. However, in the twentieth century, theater has experienced a series of trials because of the evolving motion pictures that have always threatened to replace it. However, despite these problems, there has been a considerable variety of theater activity in Broadway theatres in the United States. For example, the Present Laughter by Noël Coward has been produced six times on Broadway, starting with the initial production in 1942. The current rebirth is by Moritz von Stuelpnagel, which stars Kevin Kline in the main character of Garry Essendine. What makes the recent production unique from the previous productions is the excellent performance by the actors, the overall setting of the production (lighting, sound, costumes designs), and the explicit representation of the themes of the play.
Even Moritz’s production cannot match the exceptional characteristics of the original piece by Coward; his play is filled with comedy that anyone can hope for. The actors convey a brilliant performance that portrays the life Garry has attempted to set up for himself. Kline’s timing, tone, and dramatic effects make his character an utter pleasure to watch. His conduct and relations with each actor are well-developed and well-founded. Of the many interesting characters Mr. Garry meets, none are as unforgettable as his divorced wife, Liz, performed with brilliance and elegance by Kate Burton. Miss Burton’s insults and affectionate makes her multitalented acting skills a cast feature. Acting the ever anxious but wise assistant to Mr. Garry is Kristine Nielsen, whose timing and physical appearance are striking. Her gift comes through effortlessly, with every part impeccably performed.
The set of the play is a visual feast of floor-to-ceiling, books, and intersecting contemporary art that depicts an entire home with 1930-40’s elements, and the world of the lavish theater traditional is illuminated thoroughly. The lighting blends the layout flawlessly, merging the various sections of Garry’s home. The Physical and vocal comedy features of this production are on point. Big band songs, appropriately compiled by sound designer entertains throughout the scene shifts, thus, broadening the mood. Besides, the beautiful production is the stunning costume design and hairstyles that distinguishes each character, and shows not only the fashions of the 1939 era but provides visual pop to the actors.
Moritz’s production gives breath to the intimate instants that create some extended moments and comic transformations. It runs along the line between foreseeable and unforeseen seamlessly. As a result, one can appreciate both the predictability of the comedy that arises and still feel the adrenaline excitement of every pleasant surprise of the themes of sex, gender, and economic status the show holds for them. Kevin Kline conducts an outstanding cast through plot variations of Noel Coward’s amusing farce. For example, some strategic improvements to the gender and end of the play provide a version of Noel Coward’s famous comedy that the scriptwriter himself might have generated. This seems like a sincere, even deep reflection over the value of fame, with some actual sexual frisson and a hint of sadness.
Mortiz’s production shows a distinctive style established through physical comedy that is represented throughout the play. The performers were magnificent, both in person and as part of a group. The rare features of the costumes, sound, and setting of the production differentiate it from previous productions and contribute to its success. However, the 1942 historical impact of Present Laughter overshadows the current theater value.