Fallen Angels (Roundabout Theatre Company)

By Harry Forbes

Though not quite in the exalted league of Noël Coward classics like “Private Lives” and “Design for Living,” his 1925 comedy “Fallen Angels” still sparkles with the playwright’s signature wit. Roundabout Theatre Company has mounted a sumptuous revival, directed with style by Scott Ellis.

Kelli O'Hara and Rose Byrne — fresh off Byrne’s Oscar-nominated turn in “If I Had Legs, I’d Kick You” — star as Julia and Jane, the sophisticated friends originally played by Tallulah Bankhead and Edna Best.

Years earlier, both women had affairs with the same French Lothario, Maurice — and, daringly for its era, the play leaves little doubt that the relationships were far from platonic. When Maurice announces by post that he is coming to London to see them, the now-settled wives are thrown into romantic turmoil. As the anticipated reunion fails to materialize, Julia and Jane drink themselves into a deliciously comic stupor, unleashing volleys of brittle, bitchy repartee.

Meanwhile, their husbands — Fred (Aasif Mandvi) and Willy (Christopher Fitzgerald) — remain blissfully oblivious, off golfing while emotional chaos reigns at home. Hovering nearby is Julia’s overly precociouis maid Saunders, played with excellent comic timing by Tracee Chimo.

The cast is uniformly strong. O’Hara, so often cast as poised and proper heroines (with “Days of Wine and Roses” a notable exception), gets a welcome opportunity to flaunt her comic gifts. Byrne, meanwhile, is especially hilarious in the latter half of the brisk, intermissionless 90-minute adaptation. (The original play ran three acts.) Fitzgerald delivers his usual amusing work, while Mark Consuelos makes an appealing late entrance as the elusive French charmer.

David Rockwell’s lavish drawing-room set for Julia and Fred’s London home is plushly opulent, beautifully illuminated by Kenneth Posner. Jeff Mahshie contributes stylish period costumes that add greatly to the production’s visual appeal. John Gromada’s sound design is generally unobtrusive, though occasional audibility issues suggest that a touch more sound enhancement might not have gone amiss.

In the end, this revival of “Fallen Angels” may amount to decidedly lightweight entertainment, but enjoyably so all the same.

(Todd Haimes Theatre, 227 W 42nd St.; roundabouttheatre.org; through June 7)

Photo by Joan Marcus: (l.-r.) Kelli O’Hara, Mark Consuelos, and Rose Byrne

The Rat Trap (Mint Theater Company)

By Harry Forbes

Noel Coward’s first substantive play -- written when he was 18 but not produced for several years later (and then at Hampstead’s Everyman Theatre for a limited fringe run, rather than London’s West End) after he was a firmly established playwright -- is finally enjoying its American premiere courtesy of the adventurous Mint. (There had been a 2006 revival at London’s Finborough Theatre.) 

Though not in the same league as most of Coward’s later work, and not a comedy, in spite of some choice epigrams here and there, there’s much to admire in the young Coward’s precocious skill and talent. And the production will, of course, be of great interest to Coward and serious theater buffs. 

Coward himself delivered a clear-eyed assessment in the forward to one of his Play Parade compilations: "It is not without merit. There is some excruciatingly sophisticated dialogue in the first act of which, at the time, I was inordinately proud. From the point of view of construction, it is not very good, except for the two principal quarrel scenes. The last act is an inconclusive shambles…”  Yet, he fervently wished he could see a production of it, especially as he had been out of the country even for the Hampstead premiere. 

Those remarks are a bit harsh but, on the whole, accurate based on the creditable and enjoyable Mint production, smartly directed by Alexander Lass.  

The story concerns promising young novelist Sheila (Sarin Monae West), who’s already penned one bestseller, newly married to Keld (James Evans), a budding playwright, harboring the notion that they will nurture each other’s efforts in blissful harmony. Sheila’s observant friend and roommate Olive (Elizabeth Gray) is highly skeptical, and indeed her misgivings prove prescient when, six months later, the self-absorbed Keld becomes unpleasantly irritable at every domestic interruption from the stolid maid Burrage (a scene-stealing Cynthia Mace), and now not at all tolerant of Sheila’s writing efforts. He expects her to handle all the domestic details like a good wifey. 

The situation would seem to suggest a boldly feminist point of view, and for a while, Coward continues on that track. But all that comes to naught in that weak final act and denouement. 

Adding some levity and a different perspective to Sheila and Keld’s domestic strife are the secondary characters of Naomi (Heloise Lowenthal) and Edmund (Ramzi Khalaf), she a novelist and he a poet, who live in unmarried “sin” and harmony. Edmund was played in the original production by Raymond Massey.

There’s also a troublesome ex-Gaiety girl Ruby (amusing Claire Saunders) who has a part in Keld’s play and continues to badger him for more roles. She was originally played by Adrianne Allen who, a few years later, would marry Massey, and out of that union would come actors Daniel and Anna Massey. Their messy divorce 10 years later made headlines. But I digress.

The Mint’s cast, admirably and unobtrusively diverse, is quite capable, British accents are good, and everyone seems to have the measure of their role. West creates a very sympathetic portrayal of Sheila. Gray is especially solid as the wiser older friend. Though overall Evans is well cast in his role, his peevish outbursts in the second and third acts go beyond the realm of irritability and register as borderline psychotic, but it’s difficult to know whether the script would allow for a more nuanced interpretation. 

Khalaf and Lowenthal perform an interpolated Coward number, “Forbidden Fruit,” the playwright’s first important song, and just to close the historical loop, sung by Daniel Massey (as Coward) in the Gertrude Lawrence biopic “Star!” But the interlude is superfluous.

Vicki R. Davis’s set, Christian DeAngelis’ lighting, and Hunter Kaczorowski’s costumes are all pleasing.

Props to the Mint for doing this Coward rarity, and here’s hoping they exhume more of them.

(Mint Theater Company, 131 West 55th Street   NYCityCenter.org or 212-581-1212; through December 10)

Photos by Todd Cerveris: 

Top: (l. - r.) Sarin Monae West and James Evans 

Below: (l. - r.) Heloise Lowenthal, Claire Saunders and Ramzi Khalaf