THE TRANSATLANTIC MAGAZINE
THE TRANSATLANTIC MAGAZINE
The Chichester season gets off to a great start with this polished production of Noël Coward’s rarely revived first hit. Premiered in 1924, The Vortex was Coward’s first commercial and critical success and the iconic image of him in bed (“Busy at breakfast in a silk dressing gown,” said the caption), on the cover of The Sketch magazine, helped to launch his international persona, one where the actor and the roles became inextricably linked in the public imagination. He was an early ‘Master’ of showbiz PR.
This story of the tortured affection between a spoiled society mother and her even more spoiled son who, it turns out, has a cocaine habit, follows in the line of great Oedipal dramas from Ghosts to The Seagull back to Hamlet. Interestingly, it wasn’t the cocaine specifically which attracted the ire of the all-powerful Lord Chamberlain (the British theater censor at the time) but rather the debauched values of the characters, and Coward had a real fight in his hands to prevent it being banned outright. That censorious obsession with plays having to present positive role models has sad echoes still today.
The reason for seeing this production is Lia Williams as the magnetic Florence, a true star in a star role. From the moment she struts on stage, with her young stud Tom (Sean Delaney) in tow, both dressed in beautiful matching aviator outfits, she commands it. Her suit is accessorized with diamonds, of course. Eve Gurney’s costumes here are lavishly elegant throughout including a stunning white ballgown which recalls Ginger Rogers.
Williams’ achievement is not to shy from the ugly narcissism of Florence, who embodies the empty soullessness of the Jazz Age. When son Nicky, who is delicately played by her real-life son Joshua James, reveals that he wants to introduce his new girlfriend Bunty (Isabella Laughland) her instant response is “Do you think she’ll like me?”
Director Daniel Raggett wisely runs its 100 minutes through. With designer Joanna Scotcher, he gives it an Expressionist vibe, lending it a kinetic dynamism which Coward needs if he’s to be something more than just a witty soufflé. He’s also good on stillness which provides a great counterpoint. The expansive luxury of the country house setting of the first ‘act’ lulls us into familiar Coward territory, all bon mots and cigarette lighters, but soon all that empties, and we’re left with just a symbolic mirror stand and large empty space, where the mother and son circle each other, like caged animals in a circus ring.
Nicky’s revelation that he wasn’t aware of her philandering doesn’t’ really convince and it’s interesting how ‘moral’ the piece is, no doubt a requirement of the time. Nicky’s long suffering father David (Hugh Ross), who turns a blind eye to his wife, is the moral center of the piece and who Nicky looks up to. Nicky moodily plays ‘Rhapsody in Blue’ on the piano while tolerating his mother’s friends who compete for her attention. One, a famous singer, Clara (Jessica Alade), gives us a great rendition of Bowie’s ‘Oh! You Pretty Things’. Giles Thomas music is not of the era but yet is perfectly chosen.
In a great supporting cast Priyanga Burford shines as Helen, the solid, perceptive, truth teller to this set. Helen yearns for Florence who trifles with her, as she does with a long list of amours who telephone constantly. Richard Cant, too, has great fun stealing every scene as the gay best friend, the sadly fey and acid tongued Pawnie.
This is a Coward with bite as well as quips.
