THE MARQUISE
Theatre Royal Windsor
★★★★
“this production places Coward’s inherent humour, intelligence and wit fully under the spotlight”
Noël Coward’s romantic comedy play, “The Marquise”, was already his thirteenth full-length play – written at the tender age of twenty-eight. Up to that point, his work always had a contemporary setting, but this latest offering (which he himself described as a ‘tenuous, frivolous little piece’) found him exploring the early eighteenth century, just outside Paris. Philip Wilson’s revival keeps the action in France but takes it back to more familiar Coward territory in which we find ourselves immersed in the glamour of the 1930s. Tuxedos and taffeta adorn the stage as the houselights fade, revealing the art deco splendour of Colin Falconer’s streamlined set. We are in the lacquered interior of Raoul de Vriaac’s chateau, celebrating the engagement of his daughter Adrienne to the son of his old friend, Esteban.
At first, the transposition is a seemingly inspired choice made by Wilson, who directs with the panache and fluidity of a Coward connoisseur. But then again, it is also an obvious choice given the character of the quintessential dialogue; the beauty of which wouldn’t be out of place set in today’s world either. Wilson was also granted permission from the Noël Coward Estate to implement another (minor) tweak that further delivers the play from its more censored origins.
Frivolous it may be. Tenuous it certainly isn’t. The company give robust and convincing performances as they negotiate class divides while bridging the gap between the two World Wars. While the majority are still wallowing in the Roaring Twenties, patriarch Raoul is letting his mindset drift into the Great Depression. Simon Shepherd plays the misanthrope with subtle humour. Memories of the past disturb Raoul, whereas Esteban delights in the shared recollections of their debauchery. Tristan Gemmill is a silver fox, teasing his partner in crime while still holding onto the threadbare affection. Their respective children – Adrienne (Eva O’Hara) and Miguel (Barnaby Tobias) – are rebelling against the marriage their fathers have arranged for them. Adrienne is in love with Raoul’s secretary, Jacques (Albie Marber) while Miguel has fallen for a dancer in Paris.
The ensuing mix of recriminations and outrages is thrown into further disorder by the emergence of the Marquise Eloise de Kestournel. In a role that could have been written for her, Juliet Aubrey lights up the stage. She is fire and ice. The romantic and the pragmatist rolled into a cool stillness, remaining unruffled as she reveals old secrets to her two old flames. Shepherd and Gemmill, in turn, are funny and furious in their comic outrage as the revelations come to the surface.
After the interval, the style becomes more mixed. Classic Coward humour gives way to (almost) farcical scenes. In addition, there are shades of Ibsen, along with vivid splashes of Wilde. Yet the whole is never clumsy, nor contrived, even when the finale looms into plain sight. A couple of anachronisms could potentially jar; such as a fencing duel between Raoul and Esteban which is an unlikely scenario in this setting, but the two actors pull it off with their ability to mix comedy and rage with playful affection. And, of course, a Coward comedy is incomplete without a bit of music. Largely absent throughout – despite the presence of a grand piano – Aubrey eventually gets to showcase her talents further during the closing moments. A melancholy little tune, played and sung alone, slowly shapeshifts into a glorious ensemble sequence. It is a magical moment, veering off-piste slightly, but a clear signpost for the eventual coupling of these disparate characters.
“The Marquise” is one of Coward’s lesser performed plays. Transporting it to the 1930s is not merely an inspired choice; it also puts the story back where it belongs, allowing its flair to flourish. It doesn’t just shed light on family secrets and scandals, but this production places Coward’s inherent humour, intelligence and wit fully under the spotlight. Sense of style, and sense of humour, are a perfect match.
THE MARQUISE
Theatre Royal Windsor then UK Tour continues
Reviewed on 1st June 2026
by Jonathan Evans
Photography by Alastair Muir
