Theater review: Coward’s ‘Present Laughter’ opens at Pear Theatre
Who doesn’t love a heady dose of Noel Coward — especially one of his frothy, sophisticated comedies about the foibles of love in all its guises?
There is much to like, as well as much that is lacking, in Pear Theatre’s current production of Coward’s 1939 effort, “Present Laughter,” playing through June 30 in the Mountain View venue. But despite frequent guffaws from the opening-night audience, the suave savoir-faire that is associated with the inimitable British playwright/actor is in short supply here.
It’s almost as if some of the cast is deliberately downplaying their roles, which may be the way director Walter Mayes decided he wanted them to act. If so, that’s a disappointment and also somewhat of a surprise because Mayes is usually a larger-than-life character himself.
Three actors are darn-near perfect here: Kristin Walter as the lively, sensible, steady-as-she-goes Liz Essendine, Alex Draa as the over-the-top bumbling, stumbling would-be playwright Roland Maule, and the attention-getting Monica Cappuccini doing a rolling-in-the-aisles comedic characterization of the deadpan, chain-smoking, feather-dusting, mysterious housekeeper Miss Erikson.
Be sure to appreciate the handshake-to-end-all-handshakes the overly enthusiastic Draa gives everyone he meets, and all Cappuccini has to do is walk onstage and the audience starts laughing.
The exact center of Coward’s play is British actor Garry Essendine who, Coward once acknowledged, is pretty much a carbon copy of himself. Grappling with what he thinks is a mid-life crisis (he’s 42), he’s a heady mix of self-absorption, overly dramatic, arrogant and charm, Essendine seems to have no shortage of beautiful young women who all lose their latchkey (a charmingly old-fashioned English word) so have to stay the night at Garry’s apartment.
Now, since the play was written 80 years ago, the audience never gets to see how (or what) romantic entanglements occur. Instead, what happens with amazing frequency is that a lovely young thing walks out of the guest bedroom (right off the living room of Garry’s somewhat-tired-looking living room). Garry, himself, is fast asleep upstairs in his never-seen bedroom, so the ingénues always end up wearing borrowed PJs and a dressing gown when meeting his secretary, his valet and the aforementioned housekeeper.
There are scenes of seduction, intrigue, frivolity and betrayal, all leading up to the final events that take on the appearance of a farce (though not French).
As the play’s lynchpin Garry, Charles Woodson Parker is a dichotomy. His low, throaty voice is perfect for portraying an actor, and he definitely has the acting chops to carry off the role. Yet, at times, he just doesn’t seem to fit the persona he’s playing. (His ill-fitting toupee doesn’t help his image either.)
That’s true of the other two men in the cast, David Boyll as Henry and John Stephen King as Morris. Boyll is simply one dimensional, but at times King’s Morris works.
Caitlin Papp is perfectly cast as Garry’s long-suffering secretary, Monica. Papp easily withers all of Garry’s fawning female fans with a steely smile of dismissal. Damaris Divito is fine as Joanna, the not-so-devoted wife of Henry, though it might have been nice to see a little more of the fire-and-ice Divito has displayed in other roles. Jennifer Chapman does a good job of combining innocence and seduction as the young Daphne.
Set designer Elizabeth Kruse Craig’s conception of Garry’s flat is rather a letdown, despite the well-used deep pink tufted chaise lounge that is front and center. But somehow it looks a tad more scruffy and ‘worn’ than you’d expect a well-known British actor to live in. But the art deco bar table (also well used — as in frequently — in this play) is perfection with its rounded glass and gold trim.
All of Kathleen O’Brien’s costumes seem to dovetail nicely with the persona of the play’s individual characters. Walter wears no-nonsense outfits, benefiting Liz Essentine’s character. Parker’s numerous dressing gowns are spot on, and the clingy gowns worn by Divito and Chapman are comely. (The low-cut, side-slit silky evening gown Divito wears for her seduction scene is flawless.)
Director Mayes does a fine job with the sound, as does Meghan Souther with the lighting.
Taken as a whole, despite this “Laughter” being somewhat subdued, sometimes even lukewarm Coward comes close to being good enough.
Joanne Engelhardt is a member of the San Francisco Bay Area Theatre Critics Circle and Theatre Bay Area. Email her at joanneengelhardt@comcast.net.
Theater
Where: Pear Theatre, 1110 La Avenida St., Mountain View
When: Thursday-Saturday, 8 p.m.; Saturday-Sunday, 2 p.m.
Through: June 30
Tickets: $35; discounts for seniors and students; 650-254-1148 or www.thepear.org