By Holly Sloan
In the world of traditional theater, few playwrights are spoken of more than English author, actor, singer, and composer Noel Coward. Almost every Intro to Theater class includes his contribution with such studies of “Blythe Spirit” and “Private Lives.”
To study Noel Coward’s plays is one thing. To perform them is another. The Black Box Theatre at McHenry County College has taken on the herculean challenge of spacing, timing, and the leveling of characters in its production of “Present Laughter,” and it hits all the marks.
Director Angie Kells has done a terrific job meeting those challenges with both cast and crew to give seasoned theater enjoyers what they want and expect from a Coward production. The production is also of a high enough caliber to give the newest of theatergoers a most enjoyable experience.
Noel Coward is known for his trademark use of comic suspense and chaos. For this production, there are five exits/entrances. Combined, they fulfill the Noel Coward promise that you will never know what to expect when the doorbell buzzes or someone runs in or out of a room. In most cases, it will result in some form of laughter.
Set in pre-World War II Britain, the plot shows us just a few days in the life of stage actor and lothario Garry Essendine as he tries to prepare for a theatrical tour in Africa. Through this process, however, we learn early on that his lack of “self-control,” as it were, and his own ego, have been landing him in one frying pan after the other.
Kells has done an excellent job in the casting of “Present Laughter.” Each cast member fits their role like a hand fits a glove. It is also clear that they understand their assignment perfectly.
Joel Bennett sets the bar high as Garry Essendine. Coward created the character as a caricature of himself and how he viewed the upper class. Bennett has impeccable timing and plays the character with the required sense of self-importance, yet he keeps it within the bounds that Garry remains charming.
We learn early on that Garry is facing a midlife crisis of turning 40. To validate his own ego, we find him in the midst of a tryst with aspiring actress Daphne Stillington, played by Addie Keller. Keller does a standout job as the bubbly platinum blonde who is determined to hitch her wagon to Garry’s star. We find, though, that she is more in love with the idea of him and the idea of stardom than getting to know the real Garry. Daphne’s energy is equal to that of Garry, but even Garry is exhausted by her affections and seeks to be rid of her.
Caught in the middle of all the chaos is Garry’s stodgy secretary Monica Reed, played by Bobby Roberts. Because of Garry’s antics, Monica is more of a babysitter than a secretary to Garry. As hard as she tries to stay on top of things, once one fire is put out, she is sent to smother a new one. Reed is terrific opposite Bennett; her frustration and his foolishness make for a great contrast.
Perhaps the most balanced of characters is Liz Essendine, Garry’s wife. Yes, his wife. Although they are separated, Liz, portrayed by Emily Kunash, is still a part of Garry’s life.
Kunash’s Liz is smart and savvy, and one of the few people Garry listens to and respects. She knows all about Garry’s shenanigans (probably the reason they are now separated) but has allowed him to be who he is. She, in turn, maintains a life of her own. Without giving any spoilers, she remains unflappable and could provide the solution to Garry’s love triangle (which quickly becomes a love Venn diagram).
One might get the idea that Coward has a sort of cynicism towards love and commitment, and as well as sex. The ease with which Garry moves from woman to woman without too much worry is heightened by the appearance of JoAnna Lypiatt, played by Gianah Tomczak.
JoAnna is a sexual equal to Garry. She turns the tables and becomes the seductress of a very confused Garry. In her performance, Tomczak slinks and purrs like a kitten. It doesn’t hurt that she has an easy target in Garry.
The complication here is that JoAnna is wife of Hugo Lypiatt, Garry’s producer (Paul Lockwood), who happens to be “carrying on” behind her back as well. She, like Garry, collects sexual partners, one of them being Morris Dixon (Stephen Pickering), Garry’s manager.
Lockwood and Pickering do a great job at creating fall-guy characters. After all, somebody always gets hurt in a love stew. You will feel sympathetic toward them, but in true Noel Coward fashion, the question is for how long? These two are the catalysts that lead us towards the play’s resolution.
The comedic energy is heightened by both the arrivals and departures of Roland Maule. Skye Schoen takes his energy full throttle as the ultimate “fanboy.” Maule is a funny character created to further show Garry’s “charm,” as he intended to discuss a rash critique with Garry,but soon finds himself enamored with him as well. Schoen’s expressions and physicality bring a lot of laughs and joy.
Another trademark that Coward often employs is to use supporting roles of house workers to show how truly ridiculous their upper-class employers are in their exploits. Karen Peterson and Brian Fleming are the eyes and ears of the Essendine household as Miss Erickson, the chain-smoking housekeeper, and Fred the valet. They see what the audience sees, not what the other characters see. Their expressions and witty one-liners are expertly delivered, and as an audience, we concur with their assessment of the chaos.
Peterson also does a standout job playing a second, separate character: Lady Saltburn. Portraying two characters can sometimes be difficult for an actor, but through dialect and mannerisms, Peterson accomplishes the task very well. In fact, the various dialects by the entire cast are spot-on and a lot of fun. These varied voices help create enjoyable and well-rounded characters.
On a personal note, I am sucker for the style of anything late 1930’s or early 40’s. I was instantly drawn in by the warm set of Garry’s abode, complete with grand piano and large theater posters of Garry starring in various roles. The theatre posters are wonderful and would make excellent keepsakes. They are very timely and add authenticity to the overall aesthetic of the show.
The wigs and costumes are absolutely great as well. Sometimes a period piece can come off as campy and distracting in the use of such wardrobe devices, but not in this case. Everything is indicative and true to character profiles. The outfits are all easy on the eyes, from smart business suits to flowing silks and satins.
Though the play itself is three acts, it does not feel like it at all. It moves so smoothly and quickly that time flies by. Each big reveal moves into the next, until all is right with the world – another one of Coward’s hallmarks.
The Black Box Theatre at McHenry County College has another jewel in its crown. You will definitely leave with a smile, and during a time when one may find things a little heavy in the world, you will definitely see that now is the time for “Present Laughter.”
The theatre is located at on the campus of McHenry County College, 8900 US Hwy 14, Crystal Lake, IL 60012. Performances are Fridays and Saturdays at 7 PM and Sundays at 2 PM through March 24.
For tickets call (815) 455-8746 or email jgeller@mchenry.edu. For further information visit https://www.mchenry.edu/blackbox/
Photo Credit: Christy Sturm
Holly Sloan is a Crystal Lake resident and former middle school teacher and theater director. A Bernese Mountain Dog enthusiast, she appears on stage occasionally but can often be found in the audience as Northern Illinois’ Greatest Community Theatre Groupie.
