Star Quality @ the Maddermarket
Witty and charming
‘Amateurs have taken possession of the theatre!’ declares the titular star, Lorraine Barrie, with more than a quiver of despair in her voice. Nowhere is this more apparent in Norwich than the Maddermarket theatre; but while Ms Barrie may sneer, beseeching ‘God save us from enthusiastic amateurs!’ the Norwich players have once again knocked together a pretty decent production. Unfortunately there are some weaknesses with Coward’s play itself that no amount of enthusiasm can remedy.
As the title suggests, Noel Coward’s final play (first produced 28 years after his death – because apparently being buried under a small hill isn’t enough to stop some people working. I don’t want to work if I’m under a particularly warm blanket. Says a lot really.) aims to understand the very nature of what turns an actor into something different, something special, a star. Yeah, it’s one of those plays. Sounds a bit pretentious, right? Well, fortunately for *almost* the duration, the audience is spared from sycophantic musings as the main thrust of the plot follows the behind the scenes action of a debut West End show. We are shown the first tentative steps of the show forming, as actors are wooed into their roles, right through to the opening night. On the way to this theatrical triumph, however, there are just few little snags as petty jostling and infighting takes over. Meteoric personalities and colossal egos clash as the director and star go head to head. A naïve and inexperienced first time writer is caught in the midst and batted about like a much misused shuttlecock. Their battle comes to a climax at the Manchester opening night with a face slapping extravaganza. Think Mothra vs Godzilla, but slightly less agreeable and with a few more catty remarks.
Starting as a short story in 1951, Star Quality was adapted into its current form in 2002 and therefore never received a full production during Noel Coward’s life. To me, there is something outdated about the overall conceit of the play. In a slightly nauseating final speech the cast wax lyrical about Ms Barrie and the rare gift she possesses, something ‘magical and unmistakable’, her star quality. Sadly to this point the play has failed to deliver any real evidence of this quality and so the words feel incongruous and insincere. This is not to the detriment of the performances, particularly the central one which is funny and heartfelt, but more a failing in the script that falls short of its lofty aspirations. Lorraine Barrie is not a Star, she is an insecure megalomaniac worried about the way her industry is moving and about being left behind. She surrounds herself with inferior actors to make herself look good – this does not speak of a true star to me. However, if you put aside this failed conceit the show is fun and packed full of the witty and cutting one liners that Noel Coward is known for – Lorraine memorably refers to a fellow actor as ‘all gong and no dinner’. Another great performance is given as the director Ray Malcolm who has more than his fair share of withering verbal attacks.
The performance is interspersed with recordings of some of Noel Coward’s best songs, one that stuck with me was the number (Don’t put your daughter on the stage) Mrs Worthington. Coward clearly knew intimately the backstage bitchiness all too well and both recreates it and pastiches it beautifully. Still, if this is who she would be working with, I really hope Mrs Worthington keeps her daughter well away. It is a witty and charming show even with its stated aim not really being fulfilled by the script.
