Review: FALLEN ANGELS, Menier Chocolate Factory

Photo credit: Manuel Harlan

Fallen Angels was first staged exactly one hundred years ago, to much controversy due to the female characters having sexual feelings (the horror!) and hasn't been seen in the West End for over twenty five years, until now, as the Menier Chocolate Factory has put together a revival of Noël Coward's classic English comedy of class and marriage.

A story of infidelity and confusion that features childhood best friends Julia (Janie Dee) and Jane (Alexandra Gilbreath), who, although both somewhat happily married, are thrown a dilemma when a captivating former lover of both returns into the fold and stirs up a manner of feelings for the two leading characters. We start with the uppity Julia sending her boring husband away on a golfing trip with her best friend’s husband, an equally dull man who seems puzzled as to whether they are 'in love' with their spouses or not. Clearly there is a lack of passion and spontaneity in both relationships, hence the pang of excitement when a former flame, Maurice, is rumoured to be back in the picture. The calamity ensues in the build up to his imminent arrival as the duos increasingly deluded behaviours come to the forefront.

Both leading performances are commendable, with both Dee and Gilbreath flitting between elegant upper-class ladies to melodramatic, almost pantomime characters. Herein lies the issue: the play itself doesn't seem to know which tone it is depicting. One moment, we are witnessing a witty comedy focusing on language and prose; then suddenly the women are falling over and rolling around on the floor. Fallen Angels seems unsure of itself and somewhat misjudged.

The art-deco set is apt, beautifully furnished with armchairs, side bars, telephones, and a baby grand piano, all evocative of a wealth laden home, helping to paint the scene of luxury and opulence. As do the costumes; the evening wear is stunning and the plain clothing for the husbands and pulled-up socks help establish the tight and repressed characteristics of both men, smartly contrasting between the men and women.

While the humour is clearly enjoyed by an appreciative and responsive audience, the play seems to suffer an array of energy lapses. Leading up to the climax of Act One is especially banal. The saving grace came in the form of the mischievous maid Saunders (Sarah Twomey), who charms her way through proceedings with witty remarks and snappy dialogue. Twomey receives a rousing reception after a wonderful interlude in which she dances and weaves across the stage as she sets the table.

Fallen Angels gets a lot right - effective comedic moments, world-building elements and perfect delivery of those classic Coward barbs, however, the play itself feels out of step in the year 2025. In 1925, it would seem highly resonant but the themes of missed opportunities and regrets in love due an oppressive society seem rather dated and unrelatable to modern audiences.

Whilst Fallen Angels is an amusing enough play, the themes do not correlate with today's climate, strong performances notwithstanding.

*** Three stars

Reviewed by: James Springthorpe

Fallen Angels plays at London’s Menier Chocolate Factory until 21 February, with further info here.