THE VORTEX Chichester Pageant Theatre

THE ROARING TWENTIES, ROLLING OVER THE EDGE

When Noel Coward shocked and enthralled the Twenties with this most bitter and intense of his performs, he was in the meantime unexpectedly ending the farcical Hay Fever and dealing as much as Personal Lives, Design for Dwelling, Blithe Spirit and a reputation synonymous with laughingly cynical , frothy drawing-room comedy. This primary success, although ,is their darkish and offended older cousin: fascinating in its denunciation of all of the glamorous fast-and-loosery Coward was to deal with with lighter mockery.

Final time I noticed The Vortex carried out, to my chagrin I discovered it primarily irritating: was misplaced earlier than its explosive ending by sheer dislike of too many characters in its world. You’ll be able to overdose on datedly witty social banter. It is a cleverer take: in his speedy staging – assisted by a whirling revolve and at one level some smoke – director Daniel Raggett exhibits no concern of us shedding among the phrases within the opening boho-beau-monde chatter or the social gathering scene. The essential factor is that we really feel the frenzy of these lives and get the gist, the brittle vainness of Florence Lancaster , her dependence on the adoration of the loutish Tom, the unease of her returning son Nicky and the unlikelihood of that ethereal nervy creature’s “engagement” to the stumpingly down-to-earth Bunty.

So the opening is taken fas and sketchy, briskly introducing correctly pointless folks like Clara (pretty singing) and Pauncefoot (award for Greatest Camp smoking). It lets some strains get misplaced below muttering and overtalking, and provides correct weight to the adoring however clear-sighted Helen, who needs Florence would admit her age and the truth that her absurdly younger lover Tom is just not as smitten as she is. She additionally signifies what turns into darker later, Nicky’s rising dependence on medicine; and we get the saddest of glimpses of Florence’s husband David, who the diva coos “grew outdated whereas I stayed younger”, and who’s the one guardian actually happy to see a 24 yr outdated son house from Paris.

That directorial dedication carries by way of into the second act, the social gathering scene into which we’re mercilessly whirled by Joanna Scotcher’s revolving set and a few hanging motion , smoke and racket. Not least from Nicky on the piano (when the erotic debacle happens Giles’ Thomas music and sound is overwhelming, and the smoke makes you for a second assume “drawing-room-comedy-meets-horror-movie”). Lastly all the trimmings, modish furnishings and shrieking visitors give strategy to bare-stage moments between Helen, Florence, and finally and cataclysmically, Nicky . Who’s in a Hamlet rage towards his mom’s sexual licence and self-delusion.

That therapy works, paring down the play to its supposed offended core. Priyanga Burford’s Helen, and Hugh Ross as husband David, provide a civilized, prudent gravitas as the opposite principals swirl in direction of catastrophe. And at its centre Lia Williams, gamine in jodphurs then gowned and glamorous and at last shuddering in nightwear, is large. She strikes from brittle gaiety to howling humiliation, again to defiance “It may’t be such a criminal offense being liked, it’can’t be a criminal offense being blissful!”and at last surrenders to the fact of the much less romantic form of love, shocked by her son’s closeness to the sting. Nicky is Joshua James, Williams’ real-life son however extra importantly a seasoned and delicate actor. He proves effectively in a position to inhabit the gorgeous, fragile, determined undermothered boy. They’re sensational collectively on that ultimate naked stage. You gasp.