|
|
|
|
Noël Coward
|
| |
|
| |
Sir Noël Peirce Coward (16 December 1899 26 March 1973) was an English playwright, composer, director, actor and singer, known for his wit, flamboyance and what Time magazine called "a sense of personal style, a combination of cheek and chic, pose and poise".
Born in Teddington, England, Coward attended a dance academy in London as a child, making his professional stage debut at the age of eleven. As a teenager he was introduced into high society circles in which most of his plays were later set.
Discussion
Ask a question about 'Noël Coward' Start a new discussion about 'Noël Coward' Answer questions from other users |
Encyclopedia
Sir Noël Peirce Coward (16 December 1899 26 March 1973) was an English playwright, composer, director, actor and singer, known for his wit, flamboyance and what Time magazine called "a sense of personal style, a combination of cheek and chic, pose and poise".
Born in Teddington, England, Coward attended a dance academy in London as a child, making his professional stage debut at the age of eleven. As a teenager he was introduced into high society circles in which most of his plays were later set. He began writing plays in his teens, and many of his works, such as Hay Fever, Private Lives, Design for Living, Present Laughter and Blithe Spirit, have remained in the regular theatre repertoire. Coward wrote more than 50 published plays and hundreds of songs, in addition to musical theatre (including the operetta Bitter Sweet), comic revues, poetry, several volumes of short stories, the novel Pomp and Circumstance and three volumes of autobiography. His diaries and letters were published posthumously. Coward's stage and film acting and directing career spanned six decades, during which he starred in many of his own works. In the 1950s he had fresh success as a cabaret performer.
Coward won an Academy Honorary Award in 1943 for his naval film drama In Which We Serve, and he was knighted in 1969. His plays and songs achieved new popularity in the 1960s and 1970s, and his work and style continue to influence popular culture. Closeted during his life, Coward's homosexuality was discussed candidly after his death by biographers including Graham Payn, his long-time partner.
Biography
Early years
Coward was born in 1899 in Teddington, a suburb of London. His parents were Arthur Sabin Coward (1856–1937), a piano salesman, and his wife Violet Agnes (1863–1954), daughter of Henry Gordon Veitch, a captain and surveyor in the Royal Navy. Noel Coward was the second of their three sons, the eldest of whom had died in 1898 at the age of six. Coward's father lacked drive, and family finances were often poor. Coward was bitten by the performing bug early and appeared in amateur concerts by the age of seven. He attended the Chapel Royal Choir School as a young child. He had little formal schooling but was a voracious reader.
Encouraged by his ambitious mother, who sent him to a dance academy in London, Coward's first professional engagement was in January 1911 as Prince Mussel in the children's play The Goldfish. In Present Indicative, his first volume of memoirs, Coward wrote:
- "One day ... a little advertisement appeared in the Daily Mirror.... It stated that a talented boy of attractive appearance was required by a Miss Lila Field to appear in her production of an all-children fairy play: The Goldfish. This seemed to dispose of all argument. I was a talented boy, God knows, and, when washed and smarmed down a bit, passably attractive. There appeared to be no earthly reason why Miss Lila Field shouldn't jump at me, and we both believed that she would be a fool indeed to miss such a magnificent opportunity."
Charles Hawtrey, the leading actor-manager, whom the young Coward idolised and from whom he learned a great deal about the theatre, cast him in Where the Rainbow Ends, a children's play, in 1911 and 1912 at the Garrick Theatre on London's West End. In 1912 Coward also appeared at the Savoy Theatre in An Autumn Idyll (as a dancer in the ballet) and at the London Coliseum in A Little Fowl Play, by Harold Owen, in which Hawtrey starred. Italia Conti engaged Coward to appear at the Liverpool Repertory Theatre in 1913, and in the same year he was cast as the Lost Boy Slightly in Peter Pan. He reappeared in Peter Pan the following year, and in 1915 he was again in Where the Rainbow Ends. He worked with other child actors in this period, including Hermione Gingold (whose mother threatened to turn "that naughty boy" out); Fabia Drake; Esmé Wynne, with whom he collaborated on his earliest plays; Alfred Willmore, later known as Micheál MacLíammóir; and Gertrude Lawrence who, Coward wrote in his memoirs, "gave me an orange and told me a few mildly dirty stories, and I loved her from then onwards."
At the age of 14, Coward became the protégé and probably the lover of Philip Streatfeild, a society painter. Streatfeild introduced him to Mrs. Astley Cooper and her high society friends. Streatfeild died from tuberculosis in 1917, but Mrs. Astley Cooper continued to encourage her late friend's protégé, who remained a frequent guest at her estate, Hambleton Hall.
Coward continued to perform during most of World War I, appearing at the Prince of Wales's Theatre in 1916 in The Happy Family and on tour with Amy Brandon Thomas's company in Charley's Aunt. In 1917, he appeared in The Saving Grace, a comedy produced by Hawtrey. Coward recalled in his memoirs, "My part was reasonably large and I was really quite good in it, owing to the kindness and care of Hawtrey's direction. He took endless trouble with me... and taught me during those two short weeks many technical points of comedy acting which I use to this day."
In 1918, Coward was drafted into the Artists Rifles but was assessed as unfit for active service because of a tubercular tendency, and he was discharged on health grounds after nine months. That year he appeared in the D. W. Griffith film Hearts of the World in an uncredited role. He sold short stories to several magazines to help his family financially. He also began writing plays, collaborating on the first two (Ida Collaborates (1917) and Women and Whisky (1918)) with his friend Esmé Wynne. His first solo effort as a playwright was The Rat Trap (1918) which was eventually produced at the Everyman Theatre, Hampstead, in October 1926. During these years, he met Lorn McNaughtan, who became his private secretary, remaining in that capacity for more than forty years, until her death.
Interwar successes
In 1920, at the age of 20, Coward starred in his own play, the light comedy I'll Leave It to You. After a tryout in Manchester, it opened in London at the New Theatre (renamed the Noël Coward Theatre in 2006), his first full-length play on the West End. Neville Cardus's praise in The Manchester Guardian was grudging. Notices for the London production were mixed, but encouraging. The Observer commented, "Mr Coward... has a sense of comedy, and if he can overcome a tendency to smartness, he will probably produce a good play one of these days." The Times, on the other hand, was enthusiastic: "It is a remarkable piece of work from so young a head – spontaneous, light, and always 'brainy'."
The play ran for a month, after which Coward returned to acting in works by other writers, starring as Ralph in a London production of The Knight of the Burning Pestle. He did not enjoy the role, finding Francis Beaumont and his sometime collaborator John Fletcher "two of the dullest Elizabethan writers ever known.... I had a very, very long part, but I was very, very bad at it". Nevertheless, The Manchester Guardian thought that Coward got the best out of the role, and The Times called the play "the jolliest thing in London".
Coward completed a one-act satire, The Better Half, about a man's relationship with two women. It had a short run at The Little Theatre, London, in 1922. The critic St. John Ervine wrote of the piece, "When Mr Coward has learned that tea-table chitter-chatter had better remain the prerogative of women he will write more interesting plays than he now seems likely to write." The play was thought to be lost until a typescript was found in 2007 in the archive of the Lord Chamberlain's Office, which licensed all plays for performance in the UK until 1968 and imposed cuts or complete bans.
In 1921 Coward made his first trip to America, hoping to interest producers there in his plays. Although he had little luck, he found the Broadway theatre stimulating. He absorbed its smartness and pace into his own work, which brought him his first real success as a playwright with The Young Idea. The play opened in London in 1923, after a provincial tour, with Coward in one of the leading roles. The reviews were good: "Mr Noël Coward calls his brilliant little farce a 'comedy of youth', and so it is. And youth pervaded the Savoy last night, applauding everything so boisterously that you felt, not without exhilaration, that you were in the midst of a 'rag'." One critic, who noted the influence of George Bernard Shaw on Coward's writing, thought more highly of the play than of Coward's newly-found fans: "I was unfortunately wedged in the centre of a group of his more exuberant friends who greeted each of his sallies with 'That's a Noëlism!'" The play ran in London from 1 February to 24 March 1923, after which Coward turned to revue, co-writing and performing in André Charlot's London Calling!.
In 1924, Coward achieved his first great critical and financial success as a playwright with The Vortex. The story is about a nymphomaniac socialite and her cocaine-addicted son (played by Coward). Some saw the drugs as a mask for homosexuality, while Kenneth Tynan later described it as "a jeremiad against narcotics with dialogue that sounds today not so much stilted as high-heeled". The Vortex was considered shocking in its day for its depiction of sexual vanity and drug abuse among the upper classes, and its notoriety and fiery performances attracted large audiences, justifying a move from a small suburban theatre to a larger one in the West End. Coward, still having trouble finding producers, raised the money to produce the play himself. During the run of The Vortex, Coward met Jack Wilson, an American stockbroker who became his business manager and his lover. Wilson used his position to steal from Coward, but the playwright was in love and accepted both the larceny and Wilson's heavy drinking.
The success of The Vortex in both London and America caused a great demand for new Coward plays. In 1925 he premiered Fallen Angels, a three-act comedy that amused and shocked audiences with the spectacle of two middle-aged women slowly getting drunk while awaiting the arrival of their mutual lover. Hay Fever, the first of Coward's plays to gain an enduring place in the mainstream theatrical repertoire, also appeared in 1925. It is a comedy about four egocentric members of an artistic family who casually invite acquaintances to their country house for the weekend and bemuse and enrage each other's guests. Some writers have seen elements of Coward's old mentor, Mrs. Astley Cooper, and her set in the characters of the Bliss family. By the 1970s the play was recognised as a classic, described in The Times as a "dazzling achievement; like The Importance of Being Earnest, it is pure comedy with no mission but to delight, and it depends purely on the interplay of characters, not on elaborate comic machinery." The Vortex, Fallen Angels and Hay Fever ran simultaneously in the West End, setting a record. Coward was turning out numerous plays and acting in his own works and others'. Soon, his frantic pace caught up with him, and he collapsed on stage in 1926 while starring in The Constant Nymph and had to take and extended rest in Hawaii.
Other Coward works produced in the mid-to-late 1920s included the plays Easy Virtue, a drama about a divorcée's clash with her snobbish in-laws; The Queen Was in the Parlour, a Ruritanian romance; The Marquise, an eighteenth century costume drama; This Was a Man, a comedy about adulterous aristocrats; and Home Chat, a comedy about a married woman's fidelity; and the revues On With the Dance and This Year of Grace. None of these shows has entered the regular repertoire, but the last introduced one of Coward's best-known songs, "A Room with a View". His biggest failure in this period was the play Sirocco (1927), which concerns free love among the wealthy. It starred Ivor Novello, of whom Coward said, "the two most beautiful things in the world are Ivor's profile and my mind". Theatregoers hated the play, showing violent disapproval at the curtain calls and spitting at Coward as he left the theatre. Coward later said of this flop, "My first instinct was to leave England immediately, but this seemed too craven a move, and also too gratifying to my enemies, whose numbers had by then swollen in our minds to practically the entire population of the British Isles."
By then one of the world's highest-earning writers, with an annual income in 1929 of £50,000, Coward thrived during the Great Depression, writing a succession of popular hits. These ranged from large-scale spectaculars to intimate comedies. Examples of the former were the operetta Bitter Sweet (1929), about a woman who elopes with her music teacher, and the historical extravaganza Cavalcade (1931) at Drury Lane, about thirty years in the lives of two families, which required a huge cast, gargantuan sets and a complex hydraulic stage. Its 1933 film adaptation won the Adademy Award for best picture. Coward's intimate-scale hits of the period included Private Lives (1930), in which Coward starred alongside his most famous stage partner, Gertrude Lawrence, and the young Laurence Olivier, and Design for Living (1932), written for Alfred Lunt and Lynn Fontanne. Private Lives was a highlight of both Coward's and Lawrence's career, selling out in both London and New York and prompting Coward to institute his rule of starring in a play for no more than three months at any venue. Design for Living was so risqué, with its theme of bisexuality and a ménage à trois, that Coward premiered it in New York, knowing that it would not survive the censor in London.
In 1933, Coward wrote, directed and co-starred with French singer Yvonne Printemps in both London and New York productions of an operetta, Conversation Piece (1933). Coward next wrote, directed and co-starred with Lawrence in Tonight at 8:30 (1936), a cycle of ten short plays that were shuffled to make a different playbill of three plays each night. One of these plays, Still Life, was expanded into the 1945 David Lean film Brief Encounter. Tonight at 8:30 was followed by a musical, Operette (1937), from which the most famous number is "The Stately Homes of England", and a revue entitled Set to Music (1938, a Broadway version of his 1932 London revue, Words and Music).
Coward's last pre-war plays were This Happy Breed, a drama about a working class family, and Present Laughter, a comic self-caricature with an egomaniac actor as the central character. These were first performed in 1942, although they were both written in 1939.
Between 1929 and 1936 Coward recorded many of his best-known show songs for His Master's Voice (HMV), now reissued on CD, including the romantic "I'll See You Again" from Bitter Sweet, the comic "Mad Dogs and Englishmen" from Words and Music, and "Mrs Worthington".
World War II
With the outbreak of World War II, Coward abandoned the theatre and sought official war work. After running the British propaganda office in Paris, where he concluded that "if the policy of His Majesty's Government is to bore the Germans to death I don't think we have time," he moved to a position with the British Secret Service. He was frustrated by the criticism he faced for apparently living the high life while his countrymen suffered – especially his trips to America where his task was to influence public and political opinion in favour of helping Britain. Coward was unable to defend himself because he could not reveal that he was working for the Secret Service. In 1942, George VI wished to award Coward a knighthood for his efforts, but was dissuaded by Winston Churchill. Mindful of the public view of Coward's flamboyant lifestyle, Churchill advised giving the official reason as Coward's £200 fine for contravening currency regulations in 1941.
Had the Nazis invaded Britain, Coward would have been arrested and killed, as he was in The Black Book along with other figures such as Virginia Woolf, Paul Robeson, Bertrand Russell and H. G. Wells. When this came to light after the war, Coward wrote: "If anyone had told me at that time I was high up on the Nazi blacklist, I should have laughed.... I remember Rebecca West, who was one of the many who shared the honour with me, sent me a telegram which read: 'My dear – the people we should have been seen dead with'."
Churchill's view was that Coward would do more for the war effort by entertaining the troops and the home front than by intelligence work: "Go and sing to them when the guns are firing – that's your job!" Coward, though disappointed, followed this advice. He toured, acted and sang indefatigably in Europe, Africa, Asia and America. He wrote and recorded war-themed popular songs, including "London Pride" and "Don't Let's Be Beastly to the Germans". During a night of bombing at the Savoy Hotel he joined Carroll Gibbons and Judy Campbell in impromptu cabaret to divert the captive guests from their fears. Another of Coward's wartime projects, as writer, star, composer and co-director (alongside David Lean), was the naval film drama In Which We Serve. The film was popular on both sides of the Atlantic, and he was awarded an honorary certificate of merit at the 1943 Academy Awards ceremony. Coward played a naval captain, basing the character on his friend Lord Louis Mountbatten. Lean went on to direct and adapt film versions of several Coward plays.
Coward's most enduring work from the war years was the hugely successful black comedy Blithe Spirit (1941), about a novelist who researches the occult and hires a medium. A séance brings back the ghost of his first wife, causing havoc for the novelist and his second wife. With 1,997 consecutive performances, it broke box-office records for the run of a West End comedy, and was also produced on Broadway, where its original run was 650 performances. The play was later filmed by David Lean. Coward toured during the war years in Blithe Spirit, alternating the piece with his comedy Present Laughter and his working-class drama This Happy Breed. In the immediate aftermath of the war, Coward wrote an alternate history, Peace In Our Time, a play depicting an England occupied by Nazi Germany.
Post-war career
Coward's new plays after the war were moderately successful but failed to match the popularity of his pre-war hits. Relative Values (1951) deals with the culture clash between an English aristocratic family and an ambitious Hollywood actress with matrimonial ambitions; South Sea Bubble (1951) is a political comedy set in a British colony; Quadrille (1952) is a drama about Victorian love and elopement; and Nude with Violin (1956, starring John Gielgud in London and Coward in New York) is a satire on modern art. A revue, Sigh No More (1945), was a moderate success, but two musicals, Pacific 1860 (1946), a lavish South Seas romance, and Ace of Clubs (1949), set in a night club, were financial failures. In addition, his friends Charles Cochran and Gertrude Lawrence died in 1951 and 1952, respectively. Despite his disappointments during this period, Coward maintained a high public profile; his performance as King Magnus in Shaw's The Apple Cart for the Coronation season of 1953, co-starring Margaret Leighton, received much coverage in the press, and his cabaret act, honed during his wartime tours entertaining the troops, was a supreme success, first in London at the Café de Paris, and later in Las Vegas. The theatre critic Kenneth Tynan wrote:
- To see him whole, public and private personalities conjoined, you must see him in cabaret... he padded down the celebrated stairs... halted before the microphone on black-suede-clad feet, and, upraising both hands in a gesture of benediction, set about demonstrating how these things should be done. Baring his teeth as if unveiling some grotesque monument, and cooing like a baritone dove, he gave us "I'll See You Again" and the other bat's-wing melodies of his youth. Nothing he does on these occasions sounds strained or arid; his tanned, leathery face is still an enthusiast's.... If it is possible to romp fastidiously, that is what Coward does. He owes little to earlier wits, such as Wilde or Labouchere. Their best things need to be delivered slowly, even lazily. Coward's emerge with the staccato, blind impulsiveness of a machine-gun.
In 1955, Coward's cabaret act at Las Vegas, recorded live for the gramophone, was so successful that CBS engaged him to write and direct a series of network television appearances for himself, including a special with Mary Martin entitled Together With Music.
During the 1950s and 60s, Coward continued to write musicals and plays. After the Ball, his 1953 adaptation of Lady Windermere's Fan, was the last musical he debuted in the West End; his last two musicals premiered on Broadway. Sail Away (1961), set on a luxury cruise liner, was Coward's most successful post-war musical, with productions in America, Britain and Australia. The Girl Who Came to Supper, a musical adaptation of The Sleeping Prince (1963), ran for only three months. He directed the successful 1964 Broadway musical adaptation of Blithe Spirit, called High Spirits. Coward's late plays include a farce, Look After Lulu! (1959), and a comic study of old age, Waiting in the Wings (1960), both of which were successful despite "critical disdain". Coward argued that the primary purpose of a play was to entertain, and he made no attempt at modernism, which he felt was boring to the audience although fascinating to the critics. His comic novel, Pomp and Circumstance (1960), about life in a tropical British colony, met with more critical success. Coward's final stage success came with Suite in Three Keys (1966), a trilogy set in a hotel penthouse suite. He wrote and played the lead in all three plays. The trilogy gained glowing reviews and did good box office business in the UK. In one of the three plays, Song at Twilight, Coward abandoned his customary reticence on the subject and played an explicitly homosexual character. The daring piece earned Coward new critical praise. He intended to star in the trilogy on Broadway but was too ill to travel. Only two of the Suite in Three Keys plays were performed in New York, with the title changed to Noël Coward in Two Keys, starring Hume Cronyn.
Coward won new popularity in several notable films later in his career, such as Around the World in 80 Days (1956), Our Man in Havana (1959), Bunny Lake is Missing (1965), Boom! (1968) and The Italian Job (1969). Stage and film opportunities he turned down in the 1950s included an invitation to compose a musical version of Pygmalion (two years before My Fair Lady was written), and offers of the roles of the king in the original stage production of The King and I, and Colonel Nicholson in the film The Bridge on the River Kwai. Invited to play the title role in the 1962 film Dr. No, he replied, "No, no, no, a thousand times, no."
In the mid-1960s and early 1970s successful productions of his 1920s and 30s plays, and new revues celebrating his music, including Oh, Coward! on Broadway and Cowardy Custard in London, revived Coward's popularity and critical reputation. He dubbed this comeback "Dad's Renaissance". This began with a hit 1963 revival of Private Lives in London and then New York. In 1964, The New Statesman wrote: "Who would have thought the landmarks of the Sixties would include the emergence of Noël Coward as the grand old man of British drama? There he was one morning, flipping verbal tiddlywinks with reporters about "Dad's Renaissance"; the next he was... beside Forster, T. S. Eliot and the OMs, demonstrably the greatest living English playwright." Invited to direct Hay Fever with Edith Evans at the National Theatre, he wrote in 1964, "I am thrilled and flattered and frankly a little flabbergasted that the National Theatre should have had the curious perceptiveness to choose a very early play of mine and to give it a cast that could play the Albanian telephone directory." Other examples of "Dad's Renaissance" included a 1968 production of Private Lives at the Theatre de Lys off-Broadway, starring Elaine Stritch, Lee Bowman and Betsy von Furstenberg, and directed by Charles Nelson Reilly. Time magazine wrote that "in the '60s... his best work, with its inspired inconsequentiality, seemed to exert not only a period charm but charm, period."
Death and honours
By the end of the 1960s, Coward suffered from arteriosclerosis and, during the run of Suite in Three Keys, he struggled with bouts of memory loss. This also affected his work in The Italian Job, and he retired from acting immediately afterwards. He died at his home in Jamaica in March 1973 of heart failure and was buried three days later on the brow of Firefly Hill, Jamaica, overlooking the north coast of the island. A memorial service was held in St. Martin-in-the-Fields in London on 24 May 1973, for which the Poet Laureate, John Betjeman, wrote and delivered a poem in Coward's honour, John Gielgud and Laurence Olivier read verse and Yehudi Menuhin played Bach. On 28 March 1984 a memorial stone was unveiled by the Queen Mother in Poets' Corner, Westminster Abbey. Thanked by Coward's partner, Graham Payn, for attending, the Queen Mother replied simply, "I came because he was my friend."
Coward was knighted in 1969 and was elected a fellow of the Royal Society of Literature. He received a Tony Award for lifetime achievement. The Noël Coward Theatre in St Martin's Lane, originally opened in 1903 as the New Theatre and later called the Albery, was renamed in his honour after extensive refurbishment, re-opening on 1 June 2006. A statue of Coward was unveiled by the Queen Mother in the foyer of the Theatre Royal, Drury Lane in 1998. There are also sculptures of Coward displayed in New York and Jamaica.
Personal life
Coward was homosexual, but he followed the convention of his times that this was never publicly mentioned. The critic Kenneth Tynan's description in 1953 was close to an acknowledgment of Coward's sexuality: "Forty years ago [Coward] was Slightly in Peter Pan, and you might say that he has been wholly in Peter Pan ever since. No private considerations have been allowed to deflect the drive of his career; like Gielgud and Rattigan, like the late Ivor Novello, he is a congenital bachelor".
Coward firmly believed his private business was not for public discussion, considering "any sexual activities when over-advertised" to be tasteless. Even in the 1970s, Coward refused to acknowledge his sexual orientation publicly, wryly observing, "There is still a woman in Paddington Square who wants to marry me, and I don't want to disappoint her". Despite this reticence, Coward encouraged his secretary and posthumous biographer Cole Lesley to be frank once he was safely dead. From his youth, Coward had a distaste for penetrative sex, and he had little in common with the modern gay scene.
Coward's most important relationship, which began in the mid-1940s and lasted until Coward's death, was with the South African stage and film actor Graham Payn. Coward featured Payn in several of his London productions. Payn later co-edited with Sheridan Morley the collection of Coward's diaries, published in 1982. Coward's other relationships included the playwright Keith Winter, actors Louis Hayward and Alan Webb, his manager John (Jack) C. Wilson (1899–1961) and the composer Ned Rorem, who published details of their relationship in his diaries. Coward had a 19-year friendship with Prince George, Duke of Kent, but biographers differ on whether it was platonic. According to Payn, Coward maintained that it was simply a friendship. Coward said, on the duke's death, "I suddenly find that I loved him more than I knew."
Coward maintained close friendships with many women, including the actress and author Esmé Wynne-Tyson, his first collaborator and constant correspondent; the designer Gladys Calthrop; his secretary and close confidante Lorn Loraine; the actresses Gertrude Lawrence, Joyce Carey and Judy Campbell; and "his loyal and lifelong amitié amoureuse", Marlene Dietrich.
In his profession, Coward was widely admired and loved for his generosity and kindness to those who fell on hard times. Stories are told of the unobtrusive way in which he relieved the needs or paid the debts of old theatrical acquaintances who had no claim on him. Coward was the president of The Actors' Orphanage, which was supported by the theatrical industry. In that capacity, he befriended the young Peter Collinson, who was in the care of the orphanage. He became Collinson's godfather and helped him to get started in show business. When Collinson was a successful director, he invited Coward to play a role in The Italian Job. Graham Payn also played a small role in the film.
In the 1950s, Coward left the UK for tax reasons, receiving harsh criticism in the press. He first settled in Bermuda but later bought houses in Jamaica and Switzerland, which remained his homes for the rest of his life. His expatriate neighbours and friends included Joan Sutherland, David Niven, Richard Burton and Elizabeth Taylor, and Julie Andrews and Blake Edwards in Switzerland and Ian Fleming and his wife Ann in Jamaica. Coward was a witness at the Flemings' wedding, but his diaries record his exasperation with their constant bickering.
Coward's political views were conservative, but not unswervingly so: he despised the government of Neville Chamberlain for its policy of appeasing Nazi Germany, and he differed sharply with Winston Churchill over the abdication crisis of 1936. Whereas Churchill supported Edward VIII's wish to marry Wallis Simpson, Coward thought the king irresponsible. Coward disliked propaganda in plays: "The theatre is a wonderful place, a house of strange enchantment, a temple of illusion. What it most emphatically is not and never will be is a scruffy, ill-lit, fumed-oak drill hall serving as a temporary soap box for political propaganda." Nevertheless, his own views sometimes surfaced in his plays: both Cavalcade and This Happy Breed are "overtly Conservative political plays written in the Brechtian epic manner."
Coward spelled his first name with the diæresis ("I didn't put the dots over the 'e' in Noël. The language did. Otherwise it's not Noël but Nool!"). The press and many book publishers failed to follow suit, and his name was printed as 'Noel' in The Times, The Observer and other contemporary newspapers and books.
The papers of Noël Coward are held in the University of Birmingham Special Collections.
The Coward image
]]
"Why", asked Coward, "am I always expected to wear a dressing-gown, smoke cigarettes in a long holder and say 'Darling, how wonderful'?" The answer lay in Coward's assiduous cultivation of a carefully crafted image. As a suburban boy who had been taken up by the upper classes he rapidly acquired the taste for high life: "I am determined to travel through life first class."
As soon as he achieved success he began polishing the Coward image: an early press photograph showed him sitting up in bed holding a cigarette holder: "I looked like an advanced Chinese decadent in the last phases of dope." Coward later wrote, "I took to wearing coloured turtle-necked jerseys, actually more for comfort than for effect, and soon I was informed by my evening paper that I had started a fashion. I believe that to a certain extent this was true; at any rate, during the ensuing months I noticed more and more of our seedier West-End chorus boys parading about London in them." He soon became more cautious about overdoing the flamboyance, advising Cecil Beaton to tone down his outfits: "It is important not to let the public have a loophole to lampoon you." However, Coward was happy to generate publicity from his lifestyle. In 1969, he told Time magazine, "I acted up like crazy. I did everything that was expected of me. Part of the job." Time concluded, "Coward's greatest single gift has not been writing or composing, not acting or directing, but projecting a sense of personal style, a combination of cheek and chic, pose and poise."
Coward's distinctive clipped diction arose from his childhood: his mother was deaf and Coward developed his staccato style of speaking to make it easier for her to hear what he was saying; it also helped him eradicate a slight lisp. His nickname, "The Master" "started as a joke and became true", according to Coward. It was used of him from the 1920s onwards. Coward himself made light of it: when asked by a journalist why he was known as "The Master", he replied, "Oh, you know – Jack of all trades, master of none." He could, however, joke about his own immodesty: "My sense of my importance to the world is relatively small. On the other hand, my sense of my own importance to myself is tremendous." When a Time interviewer apologised, "I hope you haven't been bored having to go through all these interviews for your [70th] birthday, having to answer the same old questions about yourself", Coward rejoined, "Not at all. I'm fascinated by the subject."
Critical reputation and legacy
The playwright John Osborne said, "Mr Coward is his own invention and contribution to this century. Anyone who cannot see that should keep well away from the theatre." Kenneth Tynan wrote in 1964, "Even the youngest of us will know, in fifty years' time, exactly what we mean by 'a very Noel Coward sort of person'." In praise of Coward's versatility, Lord Mountbatten said, in a tribute on Coward's on seventieth birthday, "There are probably greater painters than Noël, greater novelists than Noël, greater librettists, greater composers of music, greater singers, greater dancers, greater comedians, greater tragedians, greater stage producers, greater film directors, greater cabaret artists, greater TV stars. If there are, they are fourteen different people. Only one man combined all fourteen different labels – The Master."
Tynan's was the first generation of critics to realise that Coward's plays might enjoy more than ephemeral success. In the 1930s, Cyril Connolly wrote that they were "written in the most topical and perishable way imaginable, the cream in them turns sour overnight." What seemed daring in the 1920s and 1930s came to seem old-fashioned in the 1950s, and Coward never replicated the success of his pre-war plays. By the 1960s, however, it was becoming clear that underneath the witty dialogue and the Art Deco glamour of the inter-war years, Coward's best plays also dealt with recognisable people and familiar relationships. By the time of his death, The Times was writing of him, "None of the great figures of the English theatre has been more versatile than he," and the paper ranked his plays in "the classical tradition of Congreve, Sheridan, Wilde and Shaw".
A symposium published in 1999 marked the centenary of Coward's birth, listing some of his major productions scheduled for the year in Britain and North America, including Ace of Clubs, After the Ball, Blithe Spirit, Cavalcade, Easy Virtue, Hay Fever, Present Laughter, Private Lives, Sail Away, Song at Twilight, The Young Idea and Waiting in the Wings, with stars including Lauren Bacall, Rosemary Harris, Ian McKellen, Corin Redgrave, Vanessa Redgrave and Elaine Stritch. In another tribute, Tim Rice said of Coward's songs: "The wit and wisdom of Noël Coward's lyrics will be as lively and contemporary in 100 years' time as they are today," and many have been recorded by Paul McCartney, Sting, Elton John, Robbie Williams, Pet Shop Boys, The Divine Comedy, Vic Reeves, Ian Bostridge, Damon Albarn, Michael Nyman, and others.
Coward's music and writings and his characteristic voice and style have been widely parodied and imitated, for instance in Monty Python, Round the Horne and Privates on Parade. Coward has frequently been depicted as a character in plays, films, television and radio shows, for example, in the 1969 Julie Andrews film Star! the award-winning BBC sitcom Goodnight Sweetheart and a BBC Radio 4 series. Characters based on Coward have included Beverly Carlton in the 1939 Broadway play The Man Who Came to Dinner. Coward was an early admirer of the plays of Harold Pinter, and contributed £1,000 to back a film of Pinter's The Caretaker. Some critics have detected Coward's influence in Pinter's plays. Tynan compared Pinter's "elliptical patter" to Coward’s "stylised dialogue". Pinter returned the compliment by directing the National Theatre’s revival of Blithe Spirit in 1976.
Plays
- For plays that were written more than two years before the original production, a date of composition is given and the second date given is the year when first produced (fp).
- The Last Chapter (Ida Collaborates) (1917), one-act comedy, co-written with Esmé Wynne under their joint pen name, Esnomel
- Woman and Whisky (1918), one-act play, co-written with Wynne
- The Rat Trap (1918), play in four acts; fp 1926
- I'll Leave It to You (1920), light comedy in three acts
- The Young Idea (1922), comedy of youth in three acts
- Sirocco (1921), play in three acts, revised 1927
- The Better Half (1922), comedy in one act
- The Queen Was in the Parlour (1922), play in three acts, fp 1926
- Weatherwise (1923), comedy in two scenes, fp 1932
- Fallen Angels (1925), comedy in three acts
- The Vortex (1924), play in three acts
- Hay Fever (1925), comedy
- Easy Virtue (1925), play in three acts
- Semi-Monde originally Ritz Bar (1926), play in three acts, fp 1988
- This Was a Man (1926), comedy in three acts
- The Marquise (1927), comedy in three acts
- Home Chat (1927), play in three acts
- Private Lives (1930), intimate comedy in three acts
- Post-Mortem (1932), play in eight scenes, fp 1992
- Cavalcade (1931), play in three parts
- Design For Living (1933), comedy in three acts
- Point Valaine (1934), play in three acts
- Tonight at 8:30 (1935/36), three programmes of the following one-act plays:
- Present Laughter (1939), play in three acts, fp 1942
- This Happy Breed (1939), play in three acts, fp 1942
- Blithe Spirit (1941), play in three acts
- Peace In Our Time (1947), play in two acts
- Long Island Sound (1947), comedy adapted from his short story What Mad Pursuit?, fp 1989 (Windsor gala performance)
- South Sea Bubble (Island Fling in USA), (1951), comedy in three acts
- Relative Values (1951), comedy in three acts
- Quadrille (1952), romantic comedy in three acts
- Nude with Violin (1956), comedy in three acts
- Volcano (1957), play in two acts, Mill at Sonning, staged reading 1989
- Look After Lulu! (1959), three act farce adapted from Georges Feydeau
- Waiting in the Wings (1960), play in three acts
- Suite in Three Keys: A Song at Twilight; Shadows of the Evening; Come into the Garden, Maud (1966), a trilogy
- Star Quality (1967), Coward's last play, comedy in three acts, fp Bath, 1985
Revues, musicals, operetta and songs
- London Calling! (1922, 1923), revue in collaboration with Ronald Jeans
- On With the Dance (1924, 1925), revue
- This Year of Grace (1927, 1928), revue, originally Charles B Cochran's 1928 Revue
- Bitter Sweet (1928, 1929), operetta
- Words and Music (1932), revue
- Conversation Piece (1933), comedy with music
- Operette (1937), musical play
- Set to Music (1939), revue (a Broadway rewrite of Words and Music)
Songs
Coward wrote more than three hundred songs. The Noël Coward Society's website, drawing on performing statistics from the publishers and the Performing Right Society, names "Mad About the Boy" (from Words and Music) as Coward's most popular song, followed, in order, by: "I'll See You Again" (Bitter Sweet); "Mad Dogs and Englishmen" (Words and Music); "If Love Were All" (Bitter Sweet); "Someday I'll Find You" (Private Lives); "I'll Follow My Secret Heart" (Conversation Piece); "London Pride" (1941); "A Room With a View" (This Year of Grace); "Mrs Worthington" (1934); "Poor Little Rich Girl" (On With the Dance); and "The Stately Homes of England" (Operette). In the society's second tier of favourites are: "The Party's Over Now" (Words and Music); "Dearest Love" (Operette); "Dear Little Café" (Bitter Sweet); "Parisian Pierrot" (London Calling); "Men About Town" (Tonight at 8:30); "Twentieth Century Blues" (Cavalcade); "Uncle Harry" (Pacific 1860); "Don't Let's Be Beastly to the Germans" (1943); "There Are Bad Times Just Around the Corner" (Globe Review); "Dance, Little Lady" (This Year of Grace); "Has Anybody Seen Our Ship?" (Tonight at 8:30); "I Went to a Marvellous Party" (Set to Music); "Nina" (Sigh No More); "A Bar on the Piccola Marina" (1954); "Why Must the Show Go On?" (Together With Music); "Sail Away" (Ace of Clubs and Sail Away); and "Zigeuner" (Bitter Sweet).
As a songwriter, Coward was deeply influenced by Gilbert and Sullivan, although he shared a dislike of their works common in his generation. He recalled: "I was born into a generation that still took light music seriously. The lyrics and melodies of Gilbert and Sullivan were hummed and strummed into my consciousness at an early age. My father sang them, my mother played them... my aunts and uncles, who were legion, sang them singly and in unison at the slightest provocation." His colleague Terence Rattigan wrote that as a lyricist Coward was "the best of his kind since W. S. Gilbert."
Films
Coward's plays adapted for film include Easy Virtue (1928; remade, 2008); Private Lives, Metro-Goldwyn-Mayer (1931); Bitter Sweet, British & Dominion (1933); Design for Living, Paramount (1933); Cavalcade, Twentieth Century-Fox (1933); Tonight Is Ours (based on the play The Queen Was in the Parlour), Paramount (1933); Bitter Sweet, Metro-Goldwyn-Mayer (1940); We Were Dancing (based on Tonight at 8:30), Metro-Goldwyn-Mayer (1942); This Happy Breed, Universal (1944); Brief Encounter (based on Still Life), Cineguild (1945); The Astonished Heart, Universal (1950); Tonight at Eight-Thirty (based on Ways and Means, Red Peppers, and Fumed Oak), British Film Makers (1953); and A Matter of Innocence (based on his short story "Pretty Polly Barlow"), Universal (1968).
Films in which he participated as actor, screenwriter, director or producer are as follows:
Hearts of the World (1918, uncredited)Across the Continent (1922, uncredited)The Scoundrel (1935)In Which We Serve (1942, also director/screenwriter)This Happy Breed (1944, as producer)Blithe Spirit (1945, as screenwriter)Brief Encounter (1945) screenwriterThe Astonished Heart (1949)Around the World in Eighty Days (1956)Our Man in Havana (1959)Surprise Package (1960)Paris, When It Sizzles (1964)Present Laughter (1964, TV)The Vortex (1964, TV)Bunny Lake Is Missing (1965)Androcles and the Lion (1967, TV)Boom! (1968)The Italian Job (1969)
Further reading
Future Indefinite. Second volume of autobiography, WWII. Heinemann 1954.Coward, Noël. Middle East Diary. A diary of a wartime tour to entertain the troops "from Gib to Baghdad". Heinemann 1944.Coward, Noël. Past Conditional. Third volume (unfinished) of autobiography. Heinemann 1986.Coward, Noël. The Complete Stories. Methuen Paperback Original 1985. ISBN 0-413-59970-1.Day, Barry (ed). Noël Coward: The Complete Lyrics. Methuen 1998. ISBN 0-413-73230-4.Fisher, Clive. Noël Coward. Weidenfeld 1992. ISBN 0-297-81180-0.Payn, Graham and Martin Tickner (eds.) Noël Coward: Collected Verse. Methuen 1984, corrected edition 1987. ISBN 0-413-551504.Wynne-Tyson, Jon. Finding the Words: A Publishing Life, Michael Russell Publishing Ltd, ISBN 085955287X.
External links
|
| |
|
|
