Noel Coward wrote, directed, and starred in his 1924 production of The Vortex which was seen at the time as scandalous with its depiction of sexual vanity, implied homosexuality and cocaine abuse but was a commercial success. Written in three acts it, like so many of Coward’s plays are full of acerbic witty lines and reflects the social elite and theatrical types that he mixed with at the time, It feels in the 21st century a classic timepiece of an era and a social group that although they probably exist today is far less familiar to the Theatre going public. The challenge for Director Daniel Raggett is how to bring it to life on the thrust stage of the Chichester Theatre in a way that engages a modern audience. His solution is to crush the action into a ninety-minute dash to the end spiralling down a metaphorical vortex as the luscious period furniture of the opening act is stripped away on a spinning revolve to leave us focused on the central mother and son.
The mother and son in question are played by real-life mother and son, the wonderful Lia Williams as Florence Lancaster, and Joshua James as Nicky. It is a masterstroke of marketing and gives the roles a sense of authenticity but as in other filial acting relationships also inhibits the performance. Williams is magnificent in the first act, dressed in her flying jodhpurs and bouncing with energy, she dominates the eclectic mix of visitors to her flat and flaunts her relationship with her latest young flirt Tom (Sean Delaney) despite the presence of her husband David (Hugh Ross). As she says, “David grew old, and I stayed young”. She is a social butterfly revelling in the attention and loving life without a hint of regret or even a suggestion of ageing desperation that might be driving the behaviour. When James returns home and announces his engagement to Bunty (Isabella Laughland) and that he is “gay, witty and handsome” before they realise that Tom was previously engaged to Bunty, he triggers the “vortex of beastliness” that follows.
The programme reveals that the first act is in Florence's London flat and the subsequent acts in her country house, but the grandeur of the opening panelled set (designed by Joanna Scotcher) and detailed furnishings suggest a country home whereas the later scenes stripped of set except an upstage rise of steps gives no sense of location. The changes between acts are signalled by the revolve spinning and Jessica Alade (who plays Clara) singing while the cast moves the furniture around in a choreographed style. It is an interesting spectacle but the disappearance of the setting leaving a fully lit circular open stage detracted rather than engaged us in the central relationship. This is a production that reminds us again of Coward’s wit and bitchy one-liners, some delightfully delivered by Richard Cant as Pauncefort, but it no longer shocks and feels dated and old-fashioned and in this frantic execution some lines get lost in the rush. It is Lia Williams who carries the show with a wonderful contrast between the vibrant energy of her opening scene and the emotional desperation of the final scenes showing once again what a very fine actress she is.
Review by Nick Wayne
Rating: ★★★
Seat: Row K Stalls | Price of Ticket: £44
