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Life Is for Living: Conversations with Coward
December 22, 2016
Sir Noël Coward, the subject of Simon Green’s Life Is for Living: Conversations with Coward—which was co-created by its star, Simon Green, and its musical director, David Shrubsole, and is currently on view at 59E59 Theaters—was often referred to as “the master” for his prodigious talents as composer, lyricist, playwright, director, actor (on stage, screen, and television), nightclub performer, singer. His acerbic wit and brittle, very British way of delivering a lyric were trademarks of his live performances. He had a deceptively cold, reserved delivery, which made his comedic lines sharp and stinging at the same time; this made it particularly moving and thrilling when glimpses and glimmers of the heart and feeling beneath broke through. Green, on the other hand, is a warm, ingratiating presence on stage, with a gentle demeanor and delivery that too often undercut the strength of the material. This open, gentle delivery is often at odds with the material, and when he does try to drive a song or achieve a Broadway belt, it is ill suited to his natural charm.
Mixing Green’s own observations with excerpts from Coward’s New York diaries and from what contemporaries said about him, the script is both involving and confusing. Green reads from a book at times; at other times, he recites quotations or just talks to the audience. There is no real demarcation between these bits of patter, so it is difficult to determine who is speaking and when. Without much rhyme or reason, the repertoire augments the Coward canon with songs written by others. There is a thin connection here and there, when material by people mentioned in the diaries (including Berlin, Gershwin, and Ivor Novello) is included. Elsewhere, Coward words and poems are set to new melodies by Shrubsole (whose music seems more Sondheim than Coward). In most instances, I would much rather have heard the words recited, as they were originally designed to be. The most bizarre inclusion is Shrubsole’s setting of a Maya Angelou poem, “Human Family,” which, while a decent song, is completely out of place and seems to be there merely because of its composer. Shrubsole is also responsible for “updating” Coward lyrics to include cringe-inducing references to tweeting and the Internet.
There are some wonderful, rare Coward songs on display to make up for some of this. “Something Very Strange” and, especially, “Go Slow Johnny” from Sail Away open the evening in promising fashion. “There’s No More to Say About Love” and “I Saw No Shadow” also stand out from the other material. Some Coward classics are included as well. “I Went to a Marvelous Party” is interrupted throughout by patter, and Green attempts to invest it with a somber, bittersweet remembrance of a time long gone, but this wonderfully funny song is not up to the task and becomes a bit mawkish. Closing the show, “Sail Away” is blown up into a kind of theatrical anthem, but it collapses under the weight of this approach.
The small theatre is over-packed with square tables and uncomfortable folding chairs for the audience, with a raised stage in one corner. The show is not amplified, which proves to be a real pleasure. Whatever the intended through-line for the show (and Green acts as if there is one), it is too meandering to have any real weight with the members of the audience, who are left to take what delights they may from Green’s obvious singing and acting talents.
59E59 Theaters – December 13 – January 1
Gerry Geddes has conceived and directed a number of musical revues—including the Bistro- and MAC Award-winning "Monday in the Dark with George" and "Put On Your Saturday Suit-Words & Music by Jimmy Webb"—and directed many cabaret artists, including André De Shields, Helen Baldassare, Darius de Haas, and drag artist Julia Van Cartier. He directs "The David Drumgold Variety Show," currently in residence at Manhattan Movement & Arts Center, and has produced a number of recordings, including two Bistro-winning CDs. He’s taught vocal performance at The New School, NYU, and London’s Goldsmith’s College and continues to conduct private workshops and master classes. As a writer and critic, he has covered New York’s performing arts scene for over 40 years in both local and national publications; his lyrics have been sung by several cabaret and recording artists. Gerry is an artist in residence at Pangea, and a regular contributor to the podcast “Troubadours & Raconteurs.” He just completed a memoir of his life in NYC called “Didn’t I Ever Tell You This?”
Sir Noël Coward, the subject of Simon Green’s Life Is for Living: Conversations with Coward—which was co-created by its star, Simon Green, and its musical director, David Shrubsole, and is currently on view at 59E59 Theaters—was often referred to as “the master” for his prodigious talents as composer, lyricist, playwright, director, actor (on stage, screen, and television), nightclub performer, singer. His acerbic wit and brittle, very British way of delivering a lyric were trademarks of his live performances. He had a deceptively cold, reserved delivery, which made his comedic lines sharp and stinging at the same time; this made it particularly moving and thrilling when glimpses and glimmers of the heart and feeling beneath broke through. Green, on the other hand, is a warm, ingratiating presence on stage, with a gentle demeanor and delivery that too often undercut the strength of the material. This open, gentle delivery is often at odds with the material, and when he does try to drive a song or achieve a Broadway belt, it is ill suited to his natural charm.