(Michael Billington’s article appeared September 16 in the Guardian.)

Last time Noel Coward's 1932 comedy was given a major revival, at the Donmar in 1994, it was presented as a raunchy, unashamed hymn to bisexuality and the delights of a menage a trois. But Anthony Page's infinitely subtler, and funnier, revival reminds us that Coward's cosmopolitan hedonism was always matched by an inbuilt puritanism, and that the play offers a genuine contest between the bohemian talentocracy and moral orthodoxy.

via www.guardian.co.uk

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