86 years after it was first written, Noël Coward’s play Present Laughter, staged at The New Theatre in Newtown, is just as sparkling as when it debuted. Full of wit & witticisms, vim & verve, the dialogue snaps and the bon mots fly.
The plot centres around Garry Essendine – a thinly-veiled caricature of Coward himself. A multi-hyphenate before such a term existed, The Master, as he was called, was a playwright/actor/director/singer/composer, with a storied decades-long career across the U.K. and U.S.
Poor Garry, a middle-aged actor, is not having the best day. On the eve of a theatrical tour to Africa, he is forced to put up with a rotating cast of friends, staff, and hangers-on, all visiting his London flat. Everyone wants something from him – be it a romantic entanglement, or just to listen to the letters he’s received.
Doorbells ring, phones clamour. Guests hide in various rooms, only to emerge at (in)opportune times. Valets and housekeepers and secretaries go in and out. Deft direction by Louise Fischer keeps the production moving along at a fast clip across its three acts (easily combined into two with an intermission in this production). Pandemonium is nearly – and not always – kept at bay.
Staged entirely in Garry’s flat (with entrances to the dreaded spare bedroom to one side, the office to the other), the delightfully minimalist Art Deco set by Tom Bannerman allows the cast to shine amidst an apropos ‘40s swing soundtrack.
Peter Eyers’ Garry Essendine is a marvellous and sympathetic rendition of The Master – expertly leading the audience with every pursed lip and mirror makeover along the ups and downs of the aging bohemian’s self-made calamities.
Garry is surrounded by women: there is his long-suffering secretary Monica Reed, played by Emily Weare with a flawless blend of put-upon schoolmarm dignity. Molly Haddon portrays Liz Essendine, Garry’s separated wife-cum-collaborator, with slick matter-of-factness. Larissa Turnton gives an energetic performance as Daphne Stillington, a young admirer and hopeful actress. Lib Campbell’s Joanna Lyppiat (wife of Hetty Lyppiatt) slingshots her way to the most laughs of the play, and keeps unapologetically riding high through the performance.
Updating the play for modern times, the wonderfully genderbent role of Hetty Lyppiatt – originally ‘Henry’ – is effortlessly pulled off by Michela Noonan. As Garry’s theatrical producer (and wife of Joanna), she makes a fun duo with manager Morris Dixon, played by Reuben Solomon.
The cast is rounded out with Luke Visentin as the simperingly batty fan Roland Maule; Oliver Harcourt-Ham as cheeky valet Fred; and Liz Grindley as charming Scots housekeeper and part-time occultist Miss Hamilton, unrecognisable later in the play as Lady Saltburn.
The repartee is second to none, with the cast’s chemistry (especially between Joanna and Garry) palpable. Small pauses and facial expressions are done to great effect, as the plot rollicks along from one near-calamity to another.
This was your reviewer’s inaugural introduction to Coward (aside from his film Brief Encounters). While I was expecting a screwball satire of layered dialogue, the comedy of manners was perfectly clipped, keeping just the right side of farce. There’s nothing more satisfying than those moments of ‘so that’s where this is from!’ when the actors deliver an iconic line.
With the recent Downton Abbey film including Noël Coward as a character, there’s no better time to acquaint yourself with The Master. Nearing 100 years on, his theatrical contributions are as fresh as ever before. This production is a perfect intro, showcasing why his plays are modern-day classics.
Head to The New Theatre for a laughter-filled evening with Garry Essendine and his wonderful collection of hangers-on.
– Theresa
Co-founder of The Plus Ones, Theresa Winters loves being able to showcase independent theatre to Sydneysiders.
Present Laughter runs 11 November to 13 December 2025 at The New Theatre (542 King St, Newtown). Run time is 2 hours 50 minutes including one interval of 20 minutes. Buy tickets now.
The venue is not accessible.
