Star Quality @ the Maddermarket

‘Amateurs have taken possession of the theatre!’ declares the titular star, Lorraine Barrie, with morethan a quiver of despair in her voice. Nowhere is this more apparent in Norwich than theMaddermarket theatre; but while Ms Barrie may sneer, beseeching ‘God save us from enthusiasticamateurs!’ 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 enthusiasmcan remedy.

As the title suggests, Noel Coward’s final play (first produced 28 years after his death – becauseapparently being buried under a small hill isn’t enough to stop some people working. I don’t want towork if I’m under a particularly warm blanket. Says a lot really.) aims to understand the very natureof what turns an actor into something different, something special, a star. Yeah, it’s one of thoseplays. Sounds a bit pretentious, right? Well, fortunately for almost the duration, the audience isspared from sycophantic musings as the main thrust of the plot follows the behind the scenes actionof a debut West End show. We are shown the first tentative steps of the show forming, as actors arewooed 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. Meteoricpersonalities and colossal egos clash as the director and star go head to head. A naïve andinexperienced first time writer is caught in the midst and batted about like a much misusedshuttlecock. Their battle comes to a climax at the Manchester opening night with a face slappingextravaganza. Think Mothra vs Godzilla, but slightly less agreeable and with a few more cattyremarks.

Starting as a short story in 1951, Star Quality was adapted into its current form in 2002 andtherefore never received a full production during Noel Coward’s life. To me, there is somethingoutdated about the overall conceit of the play. In a slightly nauseating final speech the cast waxlyrical about Ms Barrie and the rare gift she possesses, something ‘magical and unmistakable’, herstar quality. Sadly to this point the play has failed to deliver any real evidence of this quality and sothe 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 fallsshort of its lofty aspirations. Lorraine Barrie is not a Star, she is an insecure megalomaniac worriedabout the way her industry is moving and about being left behind. She surrounds herself withinferior actors to make herself look good – this does not speak of a true star to me. However, if youput aside this failed conceit the show is fun and packed full of the witty and cutting one liners thatNoel 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 ofwithering verbal attacks.

The performance is interspersed with recordings of some of Noel Coward’s best songs, one thatstuck with me was the number (Don’t put your daughter on the stage) Mrs Worthington. Cowardclearly knew intimately the backstage bitchiness all too well and both recreates it and pastiches itbeautifully. Still, if this is who she would be working with, I really hope Mrs Worthington keeps herdaughter well away. It is a witty and charming show even with its stated aim not really being fulfilledby the script.