The Letters of Noel Coward

I was surprised to receive this book as a gift -- why would I want to read the fatuities of a bygone wit? -- and began it with a sigh. But after the first chapter I was hooked, then entertained, then admiring and enthralled at the resilient, insightful, delightful and life-affirming personality of Noel Coward. The matter of his life is fascinating -- the world of the English theatre from the time he was a teenager and the next six decades, later encompassing the American musical theatre and Hollywood scenes, and ultimately the whole world, as he was a lifelong globetrotter for whom political difficulties and borders melted away. His letters (and many to him from a broad array of distinguished and eloquent correspondents) are fresh, and funny, and topical about the theatre, England, World War II, patriotism, the press, the royal family, romance vs. life vs. art. The book is wonderfully assembled, with many fascinating photographs, and unobtrusive but always apt commentary by editor Barry Day filling in facts and thoughtful analysis as to Coward's life and surrounding events. Day chooses and arranges his material brilliantly, interspersing a basic chronological approach with a few chapters (called "Intermissions") that interject a lifelong perspective on Coward's relationships with certain people. Editor Day wisely keeps the star -- Coward the letter-writer -- center-stage throughout, providing the set-dressing that allows the production to be a hit. The result is the conjuring up of Coward as a theatrical phenomenon who is shown also to be an insightful and sensitive human being who was quite determined that the generally indifferent state of the universe would not deter him from success and having a good time.

This long and ambitious biography satisfies on several levels. First, it puts forward Coward's vast output in an organized and skillful way. Secondly, it gives us an accurate portrait of the genius himself, in his own words and those of an astonishing array of talents. Thirdly, the photos are extraordinary, and flesh out the story in a very personal way. I found it interesting that he was able to write so quickly, often in a matter of days dashing off a new play, or musical theme. Things formed quickly in a mind that raced almost ahead of himself at times. His musical ear picked up the cadence of conversations that illuminated his writing. I found it also interesting how he suffered at the hands of the English. Dreadfully homophobic, the English had a difficult time during this period with many of their greatest artists, rather a love/hate situation. If one goes looking for sexual tidbits about his personal life, there is little to be found in his letters. He was almost always a model of diplomacy, and even when he found it necessary to take a Mary Martin or a Vivien Leigh to task for unprofessional behavior, he did it in an instructive manner, laying at their feet decades of theatrical experience, and telling them in exact terms how he felt. One has to admire his directness, and his ability to take his losses in stride and go on to the next challenge. It is sad that he had to wait until he was 70 for a kinghthood that should have been put forward decades earlier. The Queen Mother loved artists from all walks of life, and she put it right finally. Perhaps the author could have spared us a few letters too many, but on the whole this is a book to keep and savor again and again.

Day, Barry, editor. "The Letters of Noel Coward", Knopf, 2007. Noel, Noel Amos Lassen Noel Coward is a legend in theater history and now we get to look behind the scenes at one of the shakers and movers of modern times. "The Letters of Noel Coward" is richly funny, deeply sincere, and a wonderful read. The letters, edited by Barry Day, include letters written by Coward as well as letters written to him. It is absolutely amazing to see that some of the most outstanding people in literature and show business are either writers or recipients of the correspondence included in the book. John Gielgud, Laurence Olivier, Alec Guiness, Irene Worth, David Niven, Marlene Dietrich, Bernard Shaw, Virginia Woolf, Ian Fleming are all there right alongside many of the aristocrats of Great Britain, statesman and royalty. The editor not only gives us the letters but he amplifies and explains with great detail as well as provides biographical and background information and we not only get the letters but a biography of a man with one of the sharpest minds of modern times. And of course there is gossip and lots of it. Noel Coward was many things but above all else, he was a genius. He was an actor, a playwright, a lyricist and a composer. He wrote novels, short stories and poet to a degree. He wrote his autobiography; he wrote about travel and he wrote great letters. He could make us laugh and he was a good friend to many. To his mother, who was his chief correspondent, he was the model son. Coward worshipped her and he wrote her a letter a week during her life. The letters between the two, mother and son, read like a love story. Day divides the book into four sections with titles from the words of Noel Coward but interspersed throughout the book are sections entitles "Intermission" where Day looks at relationships in detail and gives the information to make everything crystal clear. Coward's sharp wit is there throughout as well as some very serious thoughts especially those reflecting his love for England. He loved the Queen and she loved him. But if one thing is to characterize Noel Coward it is his comedy. His humor never seemed planned and was often "off the cuff". Noel Coward was also very gay but he kept his private life very private. His letters break down a bit of that privacy and give us a true picture of the man. Barry Day has done quite a job and a service to us all by bringing Coward back to all of us and I feel like singing to the tune of "Hello Dolly, "Hello Noel, it's so nice to have you back where you belong".

Granted, some very fine biographies have been written, those that seem to paint seamless portraits. Yet, for this reader nothing can compare to someone's letters, written with no thought that they will ever be read by anyone save the recipient. These letters are mirrors, if you will, of a person's thoughts and emotions. They are in the person's own words - every adjective, nuance, inflection is his or her choice. And when the choices are Noel Coward's, it is pleasurable reading indeed. Urbane, witty, snippy, multi-talented, observant, caring, Coward had talent to spare. He was a songwriter, playwright, actor, artist, bon vivant, advisor, trusted friend. And such friends they were - from Marlene Dietrich to the Queen Mother to Somerset Maugham to Liz Taylor (whom he once described as being "hung with rubies and diamonds and looking like a pregnant Pagoda." His quick wit was always razor sharp, used both to bolster and skewer. When his old friend Clifton Webb lost his mother, Webb was evidently given to prolonged crying bouts which caused Coward to comment, "It must be rough to be orphaned at seventy-one." His jests and jibes made him a wanted guest and sought after companion. Many of these witticisms are contained in this delightful compendium of letters both from and to Coward. Thoughtfully arranged by Barry Day they are a chronicle of Coward's life from his earliest days when at the age of two he had to be taken from church because he danced in the aisle to accompany the hymn being played. He faithfully sent a weekly missive to his mother, Violet. Thus, we're privy to what life was like for child actors at the turn of the century. During this period he met the 15-year-old Gertrude Lawrence who would play a large part in his professional life. Later, he telegraphed her re his play Private Lives: "Have written delightful new comedy stop good part for you stop wonderful one for me stop." He first sailed to New York in 1921, where he was convinced that much of his future lay. Indeed, it did although he belonged to the world. Success was to follow success. The Letters of Noel Coward is not only a joyful visit with Coward but a chapter of theatrical history. It's a weighty 753 page volume, and it's a keeper as I find myself returning to it to browse and savor again the turn of a phrase or Coward's unparalleled ripostes. Thanks to Barry Day for giving us the great pleasure of his company. Highly recommended. - Gail Cooke