SUSU Theatre Group 
The Annexe, University of Southampton
Mark Ponsford 
31 January 2026
Noel Coward’s Present Laughter, described by the author as a “light comedy” (and not, as the SUSU poster proclaims, “a farce” – even though there’s the occasional farcical element here, there’s a considerable difference between the two genres), was originally presented in 1942, touring Britain prior to opening at London’s Haymarket Theatre in 1943. Coward, who also starred in the production, was giving the audiences (had they but known) a slightly exaggerated picture of his own home life at that time, along with a glimpse of some of Celebrity’s prices and pitfalls. It’s been revived on many occasions – two notable productions (starring Donald Sinden and Andrew Scott respectively) were captured on film, are still available for home viewing, and this current production makes various nods to them both. It’s been updated to the 1960s, though with respect this isn’t always apparent, as the set gives little evidence of Garry’s luxurious lifestyle, the oft-used telephone is a firmly circa-1980s model mounted on the wall, and not all of the costuming clearly suggests the period. The pre-show and interval music reminds us, for the most part (although ‘Don’t Go Breaking My Heart’ didn’t see the light of day until 1976), but there’s another head-scratcher when Joe appears, having come straight from a “Toscanini concert” – in the text of the play, the name given by the playwright is Toscanni, and taking into account the 1960s setting, maybe they should have left it at that, since Arturo Toscanini died in 1957. Coward might have had something to say.
Where this production scores (and impressively so) is in the acting, and under the assured, detailed direction of Morgan Allen and Emily Ellis, there are some pricelessly enjoyable performances from a hugely talented ensemble of players. (A lot of painstaking work has been done, and it shows.) There’s been a bold decision to gender-swap the central (“Coward”) role of Garry Essendine, even though the role still identifies in the piece as male, which does take a bit of adjusting to, so it is to Megan Laurie’s considerable credit that she dominates the proceedings with confidence and authority. Garry’s histrionics might occasionally have been toned-down a tad (nor was I too sure about the breaking of the Fourth Wall now and then), but she’s great fun to watch, and also has some quieter moments which land effectively. The women in Garry’s life, ex-wife Liz, and long-suffering secretary Monica, are brought to strong life by Mel Ensert and Kiera Robinson respectively, Ensert skilfully conveying the layers of a sound, sensible and perceptive woman. Robinson’s Monica has a wonderful deadpan delivery, and when, in answer to Daphne’s “I expect you know him better than anybody”, she responds “Less intimately than some, better than most”, you believe her.
In the hands of Maile-Ana Crompton, the star-struck Daphne Stillington is a little gem, going from wide-eyed innocent to ominously obsessive stalker as the play progresses, and it’s a stark reminder that celebrity stalkers and obsessive fans have been around for a very long time. But even Daphne’s obsession is mild by comparison with that of the young playwright Roland Maule, and from the moment Alex Tsherit bursts onto the stage, the show’s energy level goes up a gear and stays there. He gives an hilarious performance as the disturbingly unhinged sort of person you’d dread getting trapped in a lift with, and the audience responds hugely to his every appearance. Charlotte Klafkowska has some effective moments as Helen (another gender-swapped role, Henry in the original), a presence of fine assurance; and as Morris Dixon, Sam Duffy is a real “find”, a performer of great range, emotion and timing. (For future reference, should SUSU ever choose to present an out and out official farce, he’d be perfect for the genre.)
Another significant gender-swapping here is the changing of Joanna Lypiatt to Joe Lyppiat, which, as with Henry-to-Helen, was a device previously explored in Matthew Warchus’s production (with Andrew Scott) from 2019. Joanna, the siren described by Coward as having “a great deal of assurance and considerable charm”, and a major troublemaker in the game, is a challenge for a casting director = this is a very specific “type” – so it’s to the great credit of the production’s co-directors that they have cast Nick Skordellis as “Joe”. Skordellis ticks all the right boxes, while adding just the right air of tension to the proceedings. Rounding out this splendid company are Charlie Hodges, charming and likeable as Garry’s valet Fred, Alesia Lakhno as a gloriously dotty Miss Erikson, the housekeeper, with a performance that could at any moment morph into Blithe Spirit’s Madam Arcati, another of Coward’s immortal creations, and Ciara Harrison as Lady Saltburn, who arrives late in the proceedings but nevertheless brings us a genuinely charming performance.
My opening quibbles aside (oh, and I almost forgot – for future reference, do check the pronunciation of Hiawatha and Stoke Poges!), we had a terrific evening at the Annexe. The SUSU company have delivered an excellently acted and laugh-filled production, and they’re a company worth visiting in the future. I’ll say it again: the ensemble acting here is of a very commendably high standard. Not only Present Laughter, but highly Pleasant Laughter. Thanks, and Kudos to all.
