Review: Present Laughter at the New Theatre

Review by by Alexa Hafner Keelan

Told through a lens of a midlife crisis, the story delivers the show’s nonstop humour at its best. Set within the timespan of a few days, the complexity and havoc of an actor’s life begin to unravel. Starting with a desperately in love 24-year-old Daphne played by Larissa Turton, who is head over heels with Garry played by Peter Eyers, and ending with an intense desire to escape the complex web of relationships he has created.

Garry, the main star, is struggling to deal with his bruised ego due to criticism by his friends.  The show takes us through the hilarious pitfalls of Garry’s life, and credit goes to director Louise Fischer who knew how to bring the best out of the characters. 

Written by the talented Noel Coward in 1934, this play has touched theatres across Europe and the United States. Eyes plays the complex main character of Garry, where his conceit is no doubt present, yet he somehow manages to win over the audience with his charm and wit. Whether his silk robes, string of flings, or even his constant stops in the mirror are enough to send you running, he brings multiple facets to his character that Eyers displays with a light-hearted and desperately hilarious presence. 

Coward, bringing parts of his own self onto the stage, wrote Garry as a hedonistic snob, and Eyers no doubt captured his self-absorbing presence with talent and tenacity. Coward, surprisingly, drew the basis of the character from himself and he even starred as Garry in the UK production and later in US and Paris. It is carefully written with quips and one-liners that effortlessly engage and entertain the audience. 

Supported by an exceptional cast who did not miss a beat, the secretary Monica, played by Emily Weare and his wife Liz played by Molly Haddon, were clever at presenting a confident and rather unfazed view of Garry. Joanna, played by Lib Campbell who portrayed her absurd character well, continuously captured the very essence of Gary’s emotionally complex life. 

Set in the 1930s, the play encapsulates the feel of the busy, and somewhat empty life of Garry, all set within the carefully designed, ostentatious set of the home, thanks to Tom Bannerman. The simplicity of the design allowed space for the continuous dialogue to take place that kept the audience in hysterics. It also benefited the character development of Garry as he embarks on a semi-successful attempt of self-reflection. 

The mood of the stage was accentuated by the elegant use of lighting done by Michael Schell. Whether it was the early morning or well into the evening, the lighting provided a calming ambiance to the set, playing on the emotions of each scene. 

To expand and highlight the character’s personality, it was the talent of costume designers Deborah Mulhall and Helen Kohlhagen who worked well in providing era-fitting costumes that effortlessly captured the madness of each character. Joanna, portrayed with her glamorous party outfits, or Liz’s sensible pencil skirts, it all flowed well bringing the character’s personality to the focus. 

The atmosphere inside the theatre was electric, heightened by the impressive staging and thoughtful design elements that added richness to every moment. Each technical element from lighting to sound worked seamlessly to support the story. Overall, the opening night was definitely a success and will surely have an astounding ending season at the New Theatre. 

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