(seen at the afternoon performance on 5th February 2026)
Noel Coward wrote the original version of this play when he was just 18. Of course, he had been a theatre professional for over half a decade by then, and people grew up far more quickly.
Still, considering what a young man would have probably known in those times, the play is not only remarkably mature, but studded with the wittily literate lines his later work is renowned for.
Annoyingly, this is not the original play for us to consider. Bill Rosenfield, a Noel Coward expert, has reworked it. For purists like the monkey, a huge disappointment, as it expected the opportunity to see in full a play only presented four times in London. Still, better than nothing, it supposes.
Far worse, director Kirsty Patrick Ward has little grip on it. She sinks the work in the first scene by failing to insist on correct period accents. This early piece above all requires them, as Coward’s immaturity in construction depends on delivery to land many one-liners.
Indeed, by mentally “transposing” the cast’s tone and rhythm throughout, the monkey was able to discern what the young Master was doing, and enjoy the play far more than as presented here.
The director also labours the opening with unnecessary fiddly pre-show set rearrangement – the little of it (by Libby Watson) an odd sketch of period with curious R.A.F. circles of paint on the floor, and un-ironed costumes.
Playing speed is jumpy as a gramophone, each actor in their own zone and operating as they will.
Gina Bramhill, as outsider friend emancipated gossip journalist Olive Lloyd-Kennedy, oscillates Received Pronunciation with something else, almost begging the rest to follow her lead as she fumbles enthusiastically for period.
Newlywed writers Sheila Brandreth (Lily Nicol) and Keld Maxwell (Ewan Miller) compete for power in both their marriage and careers. This too oscillates, vibrations increasing until destruction.
Nicol takes until her final scene to build credibility. Miller’s rich tones suit his character. Coward may have found them incongruous, but here they provide welcome contrast – and assist his stage wife greatly by drawing our focus in their scenes together.
Angela Sims as Burrage, their housekeeper, again has to wait until the final scene to be allowed to demonstrate her ability. Worth waiting for as her experience and maturity are a real lift when it is most required.
Of the young cast members, Zoe Goriely turns in the strongest performance of all. Ruby Raymond is a chorus girl bettering herself in time-honoured fashion… by seducing a playwright. Goriely is nicely crass, unbuttoned in a tightly dressed world.
Rounding up numbers, friends of the Maxwells, Edmund Crowe and Naomi Frith-Bassington (Daniel Abbott and Ailsa Joy) represent a more stable, duller and routine marriage.
Abbott has little opportunity to shine, and takes full advantage with studied steadiness. Joy fares less well in an under-written role, which seems to frustrate her into experimenting too broadly with every assigned line.
While a fascinating insight into how Coward’s work evolved, and with a very strong final scene, it is a sadly wasted opportunity. A far stronger creative team, working with the original, unamended script is called for.
Meanwhile, “Fallen Angels” at the Menier Chocolate Factory continues until 21st February 2026. For an evening of Noel Coward, that is where your ticket money is better used.
2 stars.