Noel Coward – författare

This first volume in the Coward Collection contains four plays written within a two year period when Coward and the century were still in their 20s. The volume is introduced by Sheridan Morley, Coward's first biographer. Hay Fever, a comedy of bad manners, concerns a weekend with friends of the Bliss family, who have all been invited independently for a weekend at their country house near Maidenhead. The Vortex was a controversial drama in its time, introducing drug-addiction onto the stage at a time when alcoholism was barely mentioned. Fallen Angels, which is written for two star actresses was described as 'degenerate', 'vile', 'obscene', 'shocking' - the second half of the play is entirely taken up with an alcoholic duologue between the two women. Easy Virtue is an elegant, laconic tribute to a lost world of drawing-room dramas, no other writer went more directly to the jugular of that moralistic, tight-lipped but fundamentally hypocritical 20s society. "He is simply a phenomenon, and one that is unlikely to occur ever again in theatre history" Terence Rattigan

The plays in this volume demonstrate the extraordinary skill and versatility Coward's writing achieved in the late 1920s. The volume contains his best-loved classic, Private Lives, which was an immeditate hit when it was first staged in 1930. Coward's sparkling dialogue and repartee have ensured the play's popularity ever since. Of Bitter-Sweet in 1929 Noel Coward wrote that it was "a musical that gave me more complete satisfaction than anything else I had yet written. Not especially on acount of its dialogue or its lyrics or its music or its production but as a whole." The Marquise is an "eighteenth century comedy" filled with maids and duels, whilst Post-Mortem is a vilification of war that contains some of Coward's most powerful writing.

The third volume of Coward's plays contains some of his best work from the thirties. Design for Living - is about a triangular alliance between two men and a woman, based on friends of Coward's, which he waited to write "until she and he and I had arrived by different roads in our careers at a time and a place when we felt we could all three play together with a more or less equal degree of success." Cavalcade was Coward's most ambitious stage project, set during the Boer War, which cost GBP30,000 in its day and which includes scenes of the relief of the sinking of the Titanic and the coming of the Jazz Age. Conversation Piece is a musical comedy that Noel wrote for the Parisian star Yvonne Printemps and includes the song "I'll Follow My Secret Heart". Also in the volume are three short plays including Tonight at 8.30 - Hands Across the Sea, a gentle satire of colonials and London Society; Still Life which became the film Brief Encounter and Fumed Oak a suburban comedy about a 'worm who turns'. The volume is introduced by Sheridan Morley.

Volume Four of Noel Coward's plays contains a selection of Coward's plays from the thirties and forties which includes Blithe Spirit, a comedy that centres around the spirit medium Madame Arcati. The play that mocks sudden death was produced at precisely the moment when bombs were bringing it to Britain "I shall ever be grateful, for the almost psychic gift that enabled me to write Blithe Spirit in five days during one of the darkest years of the war." The play was for years the longest-running comedy in the history of British theatre. Present Laughter follows the life of Garry Essendine, a world-weary, middle-aged projection of the dilettante, debonair persona - self-obsessed and dressing-gowned who struts through the play like an educated peacock. It is a comedy about the 'theatricals' that Noel best knew and loved, and was originally a star vehicle for himself. It is the closest to an autobiographical play that Coward ever wrote.This Happy Breed is a saga of a lower middle-class family; and three shorter pieces fromTonight at 8.30 - is a farce set in the South of France, and serves as an oblique tribute to Frederick Lonsdale; The Astonished Heart is about the decay of a psychiatrist's mind through personal sexual obsession. Red Peppers, which closes the volume, was a cynical tribute to the lost music halls of the First World War.

Containing Coward's best work from the last two decades of his life, this volume includes Relative Values, which ran for over a year in 1951-2, Look After Lulu (1959), his perennially popular Feydeau adaptation, Waiting in the Wings (1960), a bravura piece set in a home for retired actresses, and Suite in Three Keys (1965), a trilogy of plays which gave Coward his last roles on stage. The volume is introduced by Sheridan Morley, Coward's first biographer, and includes an extensive chronology of Coward's work.

This volume brings together Coward's celebrated verse, from snappy epigrams to seven-hundred-line short stories such as 'P&O 1930' and 'Not Yet the Dodo'; from moving war-time encounters to satirical barbs at familiar Coward targets; and from personal reminiscences to occasional verse such as his tribute to Ivor Novello or his counter-attack on Graham Greene. Includes an introduction by Martin Tickner and Coward's long-time companion, Graham Payn.

First published in 1960, Pomp and Circumstance, Coward's only novel, was greeted with wide critical acclaim. 'A South Sea Bubble of a book it is, with a Royal Visit expected on the Island of Samolo, and the narrator, a mother of three, dealing with everything from chicken-pox to the amours of a visiting Duchess' (Daily Telegraph); 'If there is anywhere on earth where the old Coward world still credibly lingers on, it is probably a fairly peaceful tropical colony ruled over by a British Governor General ...Coward's long cast list might have walked out of one of his better comedies' (Evening Standard); 'It is all good, near-clean fun, magnificently readable' (Sunday Times).

This one-volume edition contains the complete collection of Coward's twenty short stories, spanning fifty years of his working life. Written with Coward's inimitable poise and wit, the stories variously describe back-stage intrigues, Hollywood champagne breakfasts, suburban romances and gossip round the captain's table. He reveals himself as a consummate prose stylist demonstrating why, for all his success in virtually every other field of entertainment, he returned again and again to the short story.

Mad Dogs and Englishmen, Don't Put your Daughter on the Stage, Mrs Worthington and over 250 more lyrics from Coward's musical masterpieces. Noel Coward is one of the greatest lyricists of the twentieth century. Songs such as A Room with a View, The Stately Homes of England, Mad Dogs and Englishmen and Mrs Worthington are known, sung and loved the world over. This edition gathers together over 250 of Coward's lyrics, arranged in chronological order and grouped by show. In addition, these masterpieces of verse are accompanied by an introduction and notes from the Master himself.

In the 1920s and 1930s Noel Coward mastered and defined the art of the revue sketch - short and often topical or satirical stage pieces, many of which were a lead-in to his famous songs. He wrote these sketches for the top revues of the 1920s and 1930s, including London Calling! (1923) and Cochrane's Revue of 1931. This volume collects Coward's best and most witty pieces, including Rain Before Seven, the only sketch he performed with Gertrude Lawrence, and the hilarious parody, Some Other Private Lives, in which Coward burlesques his own famous play, Private Lives. Also included are short one-act plays never before published. The collection includes an Introduction by Coward scholar Barry Day, setting the work in the context of its time and its dramatic form. A forgotten area of Coward's writing is now back in print.

The Seventh volume in the Coward Collection. On Quadrille: "Miss Fontanne plays the madcap Marchioness with the crackle and sheen of a five-pound note. Her eyes mock marvelously, her voice cuts like a knife into a wedding cake, and the scene in Act Three, on the eve of her elopement with Mr. Lung, is as delicious as crushed ice." Evening Standard, 1952. "The idea of Peace in Our Time", Coward wrote "was conceived in Paris shortly after the Liberation...I began to suspect that the physical effect of four years intermittent bombing is far less damaging to the intrinsic character of a nation than the spiritual effect of four years enemy occupation."The volume also contains four pieces from the Tonight at 8.30 sequence: We Were Dancing "provides a marvelously compact illustration of the way the English public school spirit prevails even in moments of strenuous passion." "Shadow Play is a musical fantasy...which gave Gertie and me a chance to sing as romantically as we could, dance in the moonlight and, we hoped, convince the audience that we were very fascinating indeed"; and "Family Album - a sly satire on Victorian hypocrisy, adorned with an unobtrusive but agreeable musical score.It was stylised both in its decor and its performance, was a joy to play and provided the whole talented company with good parts." Star Chamber, closely based on Coward's experiences trying to co-ordinate his Actors' Orphanage charity committee, is published here for the first time.

Philip Hoare, in his biography of Coward described Semi-Monde as his "most daring play to date. In a chic Parisian hotel, a series of sexual pairings take place through rendezvous, arguments, infidelities and reconciliations: sexual deviance is undisguised...set in the bisexual 1920s, the play could easily be populated by characters of Coward's society". Point Valaine is "the drama of a lurid episode of lust in the semi-tropics. unmistakably the work of a master of the stage" (New York Times); South Sea Bubble which concerns "the Governor's lady in the Isle of Samolo who plays with native fire, nearly gets her wings singed, bashes her native admirer with a bottle and at one of those Coward next-morning-at breakfast scenes slips her way out of the scrape with feline grace." (Manchester Guardian) whilst Nude With Violin is a witty comedy about art fraud.

The eighth volume in the Coward Collection includes I'll Leave It To You and The Young Idea, the first of Coward's plays ever to be produced. These were, as he said, "enthusiastically acclaimed by the critics and ran five weeks and eight weeks respectively. In both of them I appeared with the utmost determination." This Was a Man, a slightly later play, was written in 1926, after the successes which made his name. It was originally banned by the Lord Chamberlain "for facetious adultery".

The first single edition of Noel Coward's most controversial play."Only in Semi-Monde does Coward find a successful metaphor for the sexual complications that lie behind his posturing. Semi-Monde is easily the most visually daring of his comedies, and the most intellectually startling ...made up of sexually mischievous tableaux vivants and gets much nearer the homosexual knuckle than Coward's public image allowed." - (John Lahr, London Review of Books)Written in 1926 and originally entitled Ritz Bar, Semi-Monde was considered too daring for its time: "its production in London or New York seemed unlikely as some of the characters, owing to lightly suggested abnormalities, would certainly be deleted by the censor" (Noel Coward, Present Indicative). The play finally received its public premiere only after Coward's death, at the Citizen's Theatre, Glasgow, in September 1977.

Coward's 'forgotten' play, published to tie in with its world premiereIn his wickedly funny final play, NoeI Coward takes us behind the scenes of a new West End production. Conjuring up an authentic backstage world of talent and treachery, Coward creates a gallery of unforgettable characters; temperamental leading lady, ruthless director, jaded old troupers and, caught somewhere between them all, innocent young playwright. From tentative first rehearsal to triumphant opening night, the clash of egos becomes increasingly and hilariously bloody. But what emerges from the mayhem is a startling evocation of that most elusive gift of all - star quality.This edition, adapted by Chris Luscombe and introduced by Sheridan Morley, is published to coincide with the play's West End premiere in October 2001.

The definitive account, in his own words, of one of the most popular figures in British theatre. The second and concluding volume of Noel Coward's legendary autobiography includes Future Indefinite and the unfinished Past Unconditional. With his trademark wit, Coward delivers anecdotes about his travels in South America, Hollywood encounters with an array of contemporary stars and directors, and his later theatrical successes, including the Broadway triumph of Design For Living. The showbiz glamour aside, we also encounter a middle-aged man coming to terms with a world in disarray; his confused feelings towards the war and his own part in it exposing a more serious and thoughtful side to a performer and raconteur more usually associated with frivolity. Future Indefinite sees Coward transformed from a 'brazen odious little prodigy' into one of the most exuberant characters in British theatrical history. "His writing is superb, his precise languid drawl put down on the page" Daily Express

"I was photographed naked on a cushion very early in life, an insane, toothless smile slitting my face and pleats of fat overlapping me like an ill-fitting overcoat. Later, at the age of two, I was photographed again. This time in a lace dress, leaning against a garden roller and laughing hysterically. If these photographs can be found they will adorn this book." Thus begins the life story of one of the most celebrated characters in British theatrical history, in the first of Coward's autobiographies, first published in 1937. Displaying an early dedication to the theatre, Present Indicative hints at the success that would come to Coward as actor, playwright, novelist and performer. Each line is punctuated with his trademark effervescent wit, making this book a comic tour de force in it's own right, as well as a "must read" for anyone with an interest in the British stage. "He is simply a phenomenon, and one that is unlikely to occur ever again in theatre history" Terence Rattigan

No one in the twentieth century used language with the same precision and wit as Noel Coward. In his plays, his verse, his song lyrics, stories and in everyday life, he chose his words to uniquely stylish and truthful effect. This affectionate portrait of Coward's life includes not only his best-loved witticisms and lyrics, but also excerpts from private papers and hidden gems from unpublished material. Barry Day Delves into the whole range of Coward's talents, as well as his thoughts on a wide variety of subjects - including the theatre, England, the Arts, religion, love and death - all the while giving insights into the man himself.

In fashionable 1920s Belgravia, Sheila, a talented novelist, and Keld, an aspiring playwright, embark on married life. Both are fiercely ambitious, but when Keld’s career takes off and Sheila’s doesn’t, professional jealousy and an affair have a devastating effect on their marriage. Startlingly moving, but full of customary sparkling wit and dark humour, Noël Coward’s first play is given a stylish period revival for its centenary year. The Rat Trap is lovingly revised by Bill Rosenfield