‘Poppycock,’ ‘timorous,’ and ‘dead as a doornail.’ Who wouldn’t relish saying such phrases? Even better to hear them delivered by an uber-talented cast in Pleasant Laughter for the final season of 2025 at the New Theatre.
A classic from the multi-talented, cultural icon Noël Coward, Present Laughter was written in the throes of World War II in 1939 and first produced in 1942.
Successful British actor Gary Essendine is charming, self-obsessed, and grappling with a midlife crisis. From the start, we’re posed with the question: Who is the real Gary Essendine?
His many admirers, ex-lovers and assistants poke and probe for more, while he attempts to get some peace in the lead up to his tour of Africa. Each obsessed fan causes chaos with their conflicting needs. Gary’s almost-ex-wife, his manager and assistant wrangle with the carousel of enthusiastic characters, trying to save him from…himself.
A semi-autobiographical piece, Coward wrote the play as a showcase for himself as Gary Essendine, performing it in the UK, US and Paris during the war.
Coward’s world is flamboyant, upper-class camp with dramatic head turns, razor-sharp retorts, lounging and gleaming cushions setting the scene.
The cast is a talented bunch of charismatic, playful performers. Lib Campbell, Emily Weare and Reuben Solomon particularly ignite the stage in top-level form.
Larissa Turton smacks us awake, bursting onto the stage as Daphne Stillington, claiming undying love for Gary. Her striking musical theatre presence and booming voice shine in the second act, particularly in her hilarious mini-performance.
Peter Eyers as Gary Essendine fits into the role with charming, life-weary ease. He gets some of the best lines put to stage, such as: ‘I’ve always found you rather tiresome.’ Who wouldn’t love to say that to someone??
WAAPA-trained stage veteran Emily Weare is brilliant as Gary’s assistant Monica, winning the audience over with her piercing sideswipes, glances and perfect timing.
Molly Haddon as Liz Essendine is grounded, smooth, cheeky and charismatic. She centres the story, relaxing into the sofa, looking completely at home in the era and circumstances.
The play amps up as Lib Campbell hits the stage, sparking off the other actors with her boldly original Joanna Lyppiatt.
Her take on Joanna is strikingly risqué, electric and full of guile beneath a charming exterior. She had me sitting up in my seat, with her brazen mannerisms and fluid mood switches. Campbell reminded me of the vicious chaos of Amanda Plummer mixed with the quirky Jennifer Tilly.
Watching Weare, Campbell and Haddon battle it out in the second act as the climax builds is excellent theatre.
Reuben Solomon as Morris Dixon and Luke Vesentin as Roland Maule are actors to look out for. Solomon’s Morris, Gary’s theatrical manager, is a bundle of man-child-like emotion, his emotions fluid-like through voice and gesture. Luke Vestin’s Roland mirrors Lyppiatt’s character in quirky boldness, keeping the audience engaged.
All actors embody their characters with full-blooded commitment, relishing Coward’s witty banter.
Amid the word-fire, moments of genuine stillness and authentic interaction ground the heightened story in humanity. Louise Fletcher directs some quiet scenes with tenderness, such as the gentle moment between Gary and Miss Hamilton, beautifully portrayed by Liz Grindley.
Fischer’s confident, generous direction gives the cast ample room to explore and craft distinct, idiosyncratic characters. She does so while also anchoring them in the story, so their desperation fuels the comedic build to the climactic mess.
Tom Bannerman’s simple, effective staging, combined with Michael Schell’s lighting and sound, absorbs us in late 30s upper-class England. The cheeky set changes done by cast members are playful and charming.
Present Laughter is utterly satisfying theatregoing. The actors get to deliver jabs at each other in ways we’d all love to do in our daily lives.
With Coward’s precision-cut phrasing and a formidable cast, Pleasant Laughter is a night of hilarity and chaos. It was a winning opening night and a promising final season for New Theatre.
Present Laughter runs to 13 December at New Theatre, 542 King Street Newtown NSW 2081.
Tickets: https://aunewtheatre.sales.ticketsearch.com/sales/salesevent/143748
Website: https://newtheatre.org.au/present-laughter/
Socials: https://www.instagram.com/newtheatresydney/
Images supplied.
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2 responses to “Review: Present Laughter Delivers Ego, Elegance & Excess”
Spot on. Lib was the best thing in the show.
What a great review, Nick is a very creative writer