Broadway's ‘Present Laughter' revival offers passable amusement

A lower-wattage Victor Garber insufficiently shines as Noel Coward character

BY MICHAEL SOMMERS

NEWJERSEYNEWSROOM.COM

BROADWAY REVIEW

A 1939 comedy regarding the hectic home life of a West End matinee idol, Noel Coward's "Present Laughter" demands a charismatic star personality to portray the leading man whose magnetism keeps everyone spinning around him.

Coward blithely originated his semi-biographical character onstage in London, Clifton Webb did the Broadway premiere in 1946 and since then George C. Scott (1982) and Frank Langella (1996) have swaggered about memorably in Garry Essendine's fancy dressing-gowns.

Roundabout Theatre Company's revival, which opened Thursday, showcases Victor Garber, an excellent actor who's all right here but doesn't possess that indefinable but indispensable life force that Coward termed "star quality." Without a powerfully charming hero blazing at its core, the comedy drifts along rather than whirls away.

Where's Kevin Kline when you need him?

For anyone who doesn't know the play already, this featherweight affair concerns the latest troubles caused by Garry's ever-fascinating ways: A screwy would-be playwright (Brooks Ashmanskas), a love-struck debutante (Holley Fain) and a predatory siren, Joanna (Pamela Jane Gray), variously invade Garry's swank London digs, all bent on claiming his complete attention.

Ha – as if the egocentric Garry could be absorbed by anyone but himself. However, sexy Joanna is newly married to Garry's producer (Richard Poe) and also happens to be carrying on with his manager (Marc Vietor). Further amorous complications might easily shatter the protective inner circle formed around Garry by those gents plus his trusty secretary (Harriet Harris) and fond ex-wife (Lisa Banes).

Introducing all of these people and illustrating Garry's casual domestic life takes considerable time (during which Nancy E. Carroll drolly portrays a chain-smoking Norwegian housekeeper who dabbles in spiritualism), but eventually the three-act comedy generates a passable amount of amusement.

But the laughter is sporadic and despite the best efforts of director Nicholas Martin and his capable company, there's not nearly as much fizz to this champagne as you might expect.

Usually more dithering than dazzling in manner as Garry, the gray-headed Garber amiably goes along for the ride instead of driving the comedy as a genuine star would and should. This lack of high voltage makes most of the characters appear a bit dim since they are illuminated by Garry's brilliant personage.

Heartiest laughs are whipped up by Ashmanskas – all rococo gestures and vocal tricks – depicting a nutty scribbler in a shamelessly extravagant style pitched far higher than the rest of the company's work. Still, in a production that errs on the side of restraint, such showboating is a welcome diversion.

An overpowering art deco setting suggesting that Garry lives in Radio City Music Hall reinforces the occasional impression of watching a museum piece rather than experiencing a vital piece of comic theater.

"Present Laughter" continues through March 21 at the American Airlines Theatre, 227 W. 42nd St., New York. Call (212) 719-1300 or visit roundabouttheatre.org.