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Hay Fever (Modern Classics)

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Rosemary Harris / Marin Mazzie / Terrence McNally / Sonny Tilders and Creature Technology Company / Jason Michael Webb / Harold Wheeler (2019) a b c d e Chothia, Jean. "Coward, Noël", The Oxford Encyclopedia of British Literature, Oxford University Press, 2006. Retrieved 5 April 2020 (subscription required) Noël Coward / Lynn Fontanne and Alfred Lunt / New York Shakespeare Festival / Barbra Streisand (1970) During the 1930s, once he was established by his early successes, Coward experimented with theatrical forms. The historical epic Cavalcade (1931) with its huge cast, and the cycle of ten short plays Tonight at 8.30 (1935), played to full houses, but are difficult to revive because of the expense and "logistical complexities" of staging them. [168] He continued to push the boundaries of social acceptability in the 1930s: Design for Living (1932), with its bisexual triangle, had to be premiered in the US, beyond the reach of the British censor. [167] Chothia comments that a feature of Coward's plays of the 1920s and 30s is that, "unusually for the period, the women in Coward's plays are at least as self-assertive as the men, and as likely to seethe with desire or rage, so that courtship and the battle of the sexes is waged on strictly equal terms". [167] [n 13] Actors' Equity Association / A Moon for the Misbegotten / Candide / Peter Cook and Dudley Moore / Harold Friedlander / Bette Midler / Liza Minnelli / Theatre Development Fund / John F. Wharton (1974)

The best-known plays of Coward's middle period, the late 1930s and the 40s, Present Laughter, This Happy Breed and Blithe Spirit are more traditional in construction and less unconventional in content. Coward toured them throughout Britain during the Second World War, and the first and third of them are frequently revived in Britain and the US. [170] The record (1,466 performances) had been held by Charley's Aunt since the 1890s. [82] Blithe Spirit's West End record was overtaken by Boeing Boeing in the 1960s. [83] A 1985 production at the Music Box Theatre in New York had a cast including Mia Dillon as Sorel, Robert Joy as Simon, Barbara Bryne as Clara, Rosemary Harris as Judith, Roy Dotrice as David, Campbell Scott as Sandy, Carolyn Seymour as Myra, Charles Kimbrough as Richard, and Deborah Rush. [46] Other [ edit ]Thorpe, Vanessa. "Coward's long-lost satire was almost too 'daring' about women", The Observer, 16 September 2007, accessed 22 September 2016 Hoare, Philip (1995). Noël Coward, A Biography. London: Sinclair-Stevenson. ISBN 978-1-85619-265-1. Coward continued to perform during most of the First World War, appearing at the Prince of Wales Theatre in 1916 in The Happy Family [17] and on tour with Amy Brandon Thomas's company in Charley's Aunt. In 1917, he appeared in The Saving Grace, a comedy produced by Hawtrey. Coward recalled in his memoirs, "My part was reasonably large and I was really quite good in it, owing to the kindness and care of Hawtrey's direction. He took endless trouble with me ... and taught me during those two short weeks many technical points of comedy acting which I use to this day." [21] Coward, Noël (1986). Past Conditional (third volume, unfinished, of autobiography) . London: Heinemann. ISBN 978-0-413-60660-0.

Between 1929 and 1936 Coward recorded many of his best-known songs for His Master's Voice (HMV), now reissued on CD, including the romantic " I'll See You Again" from Bitter Sweet, the comic " Mad Dogs and Englishmen" from Words and Music, and "Mrs Worthington". [69] Second World War [ edit ]The play's original production opened in London in 1925 and ran for 337 performances. Coward wrote the piece with Tempest in mind for the central role of Judith. In later productions the part has been played by actresses including Constance Collier, Edith Evans, Constance Cummings, Rosemary Harris, Judi Dench, Geraldine McEwan and Felicity Kendal. Hay Fever has been continually revived in Britain, the US and elsewhere, and has been adapted frequently for radio and television. From the age of 14, he had some sort of relationship with 36-year-old artist, Philip Streatfeild – possibly sexual – before Streatfeild died of trench fever in World War One. Coward's other close friend, John Ekins, also died in the war. In 1918, at the age of 18, Coward had a nervous breakdown in an army training camp before seeing any action, and was hospitalised for six weeks. Love film and TV? Join BBC Culture Film and TV Club on Facebook, a community for cinephiles all over the world. Fiddler on the Roof / Ethel Merman / Richard Rodgers / The Theatre Guild-American Theatre Society (1972)

Gaye, Freda, ed. (1967). Who's Who in the Theatre (fourteenthed.). London: Sir Isaac Pitman and Sons. OCLC 5997224. Grove, Valerie, "Carrying on Kenneth's pain", The Times, 27 December 1997, p. 19 and "Book Now" The Independent, 20 August 2008, p. 16Mander, Raymond; Mitchenson, Joe; Day, Barry; Morley, Sheridan (2000) [1957]. Theatrical Companion to Coward (seconded.). London: Oberon. ISBN 978-1-84002-054-0. Encouraged by his ambitious mother, who sent him to a dance academy in London, [7] Coward's first professional engagement was in January 1911 as Prince Mussel in the children's play The Goldfish. [8] In Present Indicative, his first volume of memoirs, Coward wrote:

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