122-543: Shaw Hill is an 18th-century country house in Whittle-le-Woods , Lancashire , England, standing in 192 acres of parkland some 3 miles (5 km) north of Chorley . The estate is now the Shaw Hill Hotel, Golf Club and Country Club. The house is a three-storey building of ashlar with hipped slate roofs concealed by a parapet, and it incorporates elements of a smaller, earlier house. Three structures from
244-425: A baritone dove, he gave us "I'll See You Again" and the other bat's-wing melodies of his youth. Nothing he does on these occasions sounds strained or arid; his tanned, leathery face is still an enthusiast's.... If it is possible to romp fastidiously, that is what Coward does. He owes little to earlier wits, such as Wilde or Labouchere . Their best things need to be delivered slowly, even lazily. Coward's emerge with
366-455: A château or a Schloss can be a fortified or unfortified building, a country house, similar to an Ansitz , is usually unfortified. If fortified, it is called a castle, but not all buildings with the name "castle" are fortified (for example Highclere Castle in Hampshire ). The term stately home is subject to debate, and avoided by historians and other academics. As a description of
488-676: A town house . This allowed them to spend time in the country and in the city—hence, for these people, the term distinguished between town and country. However, the term also encompasses houses that were, and often still are, the full-time residence for the landed gentry who dominated rural Britain until the Reform Act 1832 . Frequently, the formal business of the counties was transacted in these country houses, having functional antecedents in manor houses . With large numbers of indoor and outdoor staff, country houses were important as places of employment for many rural communities. In turn, until
610-528: A 1968 Off-Broadway production of Private Lives at the Theatre de Lys starring Elaine Stritch , Lee Bowman and Betsy von Furstenberg , and directed by Charles Nelson Reilly . Despite this impressive cast, Coward's popularity had risen so high that the theatre poster for the production used an Al Hirschfeld caricature of Coward ( pictured above ) instead of an image of the production or its stars. The illustration captures how Coward's image had changed by
732-905: A bust of him in the library in Teddington, near where he was born. In 2008 an exhibition devoted to Coward was mounted at the National Theatre in London. The exhibition was later hosted by the Museum of Performance & Design in San Francisco and the Academy of Motion Picture Arts and Sciences in Beverly Hills , California. In June 2021 an exhibition celebrating Coward opened at the Guildhall Art Gallery in
854-588: A cabaret performer, performing his own songs, such as " Mad Dogs and Englishmen ", " London Pride ", and " I Went to a Marvellous Party ". Coward's plays and songs achieved new popularity in the 1960s and 1970s, and his work and style continue to influence popular culture. He did not publicly acknowledge his homosexuality, but it was discussed candidly after his death by biographers including Graham Payn , his long-time partner, and in Coward's diaries and letters, published posthumously. The former Albery Theatre (originally
976-482: A carefully crafted image. As a suburban boy who had been taken up by the upper classes he rapidly acquired the taste for high life: "I am determined to travel through life first class." He first wore a dressing gown onstage in The Vortex and used the fashion in several of his other famous plays, including Private Lives and Present Laughter . George Walden identifies him as a modern dandy . In connection with
1098-464: A child, making his professional stage début at the age of eleven. As a teenager he was introduced into the high society in which most of his plays would be set. Coward achieved enduring success as a playwright, publishing more than 50 plays from his teens onwards. Many of his works, such as Hay Fever , Private Lives , Design for Living , Present Laughter , and Blithe Spirit , have remained in
1220-459: A cigarette holder: "I looked like an advanced Chinese decadent in the last phases of dope." Soon after that, Coward wrote: He soon became more cautious about overdoing the flamboyance, advising Cecil Beaton to tone down his outfits: "It is important not to let the public have a loophole to lampoon you." However, Coward was happy to generate publicity from his lifestyle. In 1969 he told Time magazine, "I acted up like crazy. I did everything that
1342-558: A complex hydraulic stage. Its 1933 film adaptation won the Academy Award for best picture. Coward's intimate-scale hits of the period included Private Lives (1930) and Design for Living (1932). In Private Lives , Coward starred alongside his most famous stage partner, Gertrude Lawrence, together with the young Laurence Olivier . It was a highlight of both Coward's and Lawrence's career, selling out in both London and New York. Coward disliked long runs, and after this he made
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#17327804450651464-700: A country house, the term was first used in a poem by Felicia Hemans , "The Homes of England", originally published in Blackwood's Magazine in 1827. In the 20th century, the term was later popularised in a song by Noël Coward , and in modern usage it often implies a country house that is open to visitors at least some of the time. In England, the terms "country house" and "stately home" are sometimes used vaguely and interchangeably; however, many country houses such as Ascott in Buckinghamshire were deliberately designed not to be stately, and to harmonise with
1586-489: A cycle of ten short plays, presented in various permutations across three evenings. One of these plays, Still Life , was expanded into the 1945 David Lean film Brief Encounter . Tonight at 8.30 was followed by a musical, Operette (1938), from which the most famous number is "The Stately Homes of England", and a revue entitled Set to Music (1938, a Broadway version of his 1932 London revue, Words and Music ). Coward's last pre-war plays were This Happy Breed ,
1708-612: A dance academy in London, Coward's first professional engagement was in January 1911 as Prince Mussel in the children's play The Goldfish . In Present Indicative , his first volume of memoirs, Coward wrote: One day ... a little advertisement appeared in the Daily Mirror .... It stated that a talented boy of attractive appearance was required by a Miss Lila Field to appear in her production of an all-children fairy play: The Goldfish. This seemed to dispose of all argument. I
1830-464: A deputy-lieutenant of Lancashire. He bequeathed Shaw Hill to his daughter Anna Mary Crosse, who in 1828 married Thomas Bright Ikin, who then adopted the Crosse name as his surname. He commissioned Charles Reed of Birkenhead to rebuild the existing house during the 1830s and asked William Sawrey Gilpin to landscape the estate. Thomas Bright Crosse was appointed High Sheriff of Lancashire for 1837 and
1952-403: A drama about a working-class family, and Present Laughter , a comic self-caricature with an egomaniac actor as the central character. These were first performed in 1942, although they were both written in 1939. Between 1929 and 1936 Coward recorded many of his best-known songs for His Master's Voice (HMV), now reissued on CD, including the romantic " I'll See You Again " from Bitter Sweet ,
2074-462: A farce, Look After Lulu! (1959), and a tragi-comic study of old age, Waiting in the Wings (1960), both of which were successful despite "critical disdain". Coward argued that the primary purpose of a play was to entertain, and he made no attempt at modernism, which he felt was boring to the audience although fascinating to the critics. His comic novel, Pomp and Circumstance (1960), about life in
2196-403: A few mildly dirty stories, and I loved her from then onwards." In 1914, when Coward was fourteen, he became the protégé and probably the lover of Philip Streatfeild , a society painter. Streatfeild introduced him to Mrs Astley Cooper and her high society friends. Streatfeild died from tuberculosis in 1915, but Mrs Astley Cooper continued to encourage her late friend's protégé, who remained
2318-428: A fortunate few; it was the centre of its own world, providing employment to hundreds of people in the vicinity of its estate . In previous eras, when state benefits were unheard of, those working on an estate were among the most fortunate, receiving secured employment and rent-free accommodation. At the summit of this category of people was the indoor staff of the country house. Unlike many of their contemporaries prior to
2440-463: A frank biography once Coward was safely dead. Coward's most important relationship, which began in the mid-1940s and lasted until his death, was with the South African stage and film actor Graham Payn. Coward featured Payn in several of his London productions. Payn later co-edited with Sheridan Morley a collection of Coward's diaries, published in 1982. Coward's other relationships included
2562-771: A frequent guest at her estate, Hambleton Hall in Rutland. Coward continued to perform during most of the First World War, appearing at the Prince of Wales Theatre in 1916 in The Happy Family and on tour with Amy Brandon Thomas 's company in Charley's Aunt . In 1917, he appeared in The Saving Grace , a comedy produced by Hawtrey. Coward recalled in his memoirs, "My part was reasonably large and I
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#17327804450652684-506: A great demand for new Coward plays. In 1925 he premiered Fallen Angels , a three-act comedy that amused and shocked audiences with the spectacle of two middle-aged women slowly getting drunk while awaiting the arrival of their mutual lover. Hay Fever , the first of Coward's plays to gain an enduring place in the mainstream theatrical repertoire, also appeared in 1925. It is a comedy about four egocentric members of an artistic family who casually invite acquaintances to their country house for
2806-575: A hit 1963 revival of Private Lives in London and then New York. Invited to direct Hay Fever with Edith Evans at the National Theatre , he wrote in 1964, "I am thrilled and flattered and frankly a little flabbergasted that the National Theatre should have had the curious perceptiveness to choose a very early play of mine and to give it a cast that could play the Albanian telephone directory." Other examples of "Dad's Renaissance" included
2928-529: A mixture of high architecture , often as interpreted by a local architect or surveyor, and determined by practicality as much as by the whims of architectural taste. An example of this is Brympton d'Evercy in Somerset, a house of many periods that is unified architecturally by the continuing use of the same mellow, local Ham Hill stone . The fashionable William Kent redesigned Rousham House only to have it quickly and drastically altered to provide space for
3050-585: A night club, were financial failures. Further blows in this period were the deaths of Coward's friends Charles Cochran and Gertrude Lawrence, in 1951 and 1952 respectively. Despite his disappointments, Coward maintained a high public profile; his performance as King Magnus in Shaw's The Apple Cart for the Coronation season of 1953, co-starring Margaret Leighton , received much coverage in the press, and his cabaret act, honed during his wartime tours entertaining
3172-402: A one-act satire, The Better Half , about a man's relationship with two women. It had a short run at The Little Theatre, London, in 1922. The critic St John Ervine wrote of the piece, "When Mr Coward has learned that tea-table chitter-chatter had better remain the prerogative of women he will write more interesting plays than he now seems likely to write." The play was thought to be lost until
3294-419: A playwright with The Vortex . The story is about a nymphomaniac socialite and her cocaine-addicted son (played by Coward). Some saw the drugs as a mask for homosexuality; Kenneth Tynan later described it as "a jeremiad against narcotics with dialogue that sounds today not so much stilted as high-heeled". The Vortex was considered shocking in its day for its depiction of sexual vanity and drug abuse among
3416-481: A playwright with The Young Idea . The play opened in London in 1923, after a provincial tour, with Coward in one of the leading roles. The reviews were good: "Mr Noël Coward calls his brilliant little farce a 'comedy of youth', and so it is. And youth pervaded the Savoy last night, applauding everything so boisterously that you felt, not without exhilaration, that you were in the midst of a 'rag'." One critic, who noted
3538-729: A rule of starring in a play for no more than three months at any venue. Design for Living , written for Alfred Lunt and Lynn Fontanne , was so risqué, with its theme of bisexuality and a ménage à trois , that Coward premiered it in New York, knowing that it would not survive the censor in London. In 1933 Coward wrote, directed and co-starred with the French singer Yvonne Printemps in both London and New York productions of an operetta, Conversation Piece (1933). He next wrote, directed and co-starred with Lawrence in Tonight at 8.30 (1936),
3660-563: A sense of comedy, and if he can overcome a tendency to smartness, he will probably produce a good play one of these days." The Times , on the other hand, was enthusiastic: "It is a remarkable piece of work from so young a head – spontaneous, light, and always 'brainy'." The play ran for a month (and was Coward's first play seen in America), after which Coward returned to acting in works by other writers, starring as Ralph in The Knight of
3782-572: A tropical British colony, met with more critical success. Coward's final stage success came with Suite in Three Keys (1966), a trilogy set in a hotel penthouse suite. He wrote it as his swan song as a stage actor: "I would like to act once more before I fold my bedraggled wings." The trilogy gained glowing reviews and did good box office business in the UK. In one of the three plays, A Song at Twilight , Coward abandoned his customary reticence on
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3904-532: A typescript was found in 2007 in the archive of the Lord Chamberlain's Office , the official censor of stage plays in the UK until 1968. In 1921, Coward made his first trip to America, hoping to interest producers there in his plays. Although he had little luck, he found the Broadway theatre stimulating. He absorbed its smartness and pace into his own work, which brought him his first real success as
4026-481: Is a political comedy set in a British colony; Quadrille (1952) is a drama about Victorian love and elopement; and Nude with Violin (1956, starring John Gielgud in London and Coward in New York) is a satire on modern art and critical pretension. A revue, Sigh No More (1945), was a moderate success, but two musicals, Pacific 1860 (1946), a lavish South Seas romance, and Ace of Clubs (1950), set in
4148-526: Is now operated as a country house hotel and golf club. The house is owned and run by the Stokes family and offers 30 bedrooms, a restaurant and an indoor swimming pool. The golf club was founded in 1923 and now maintains an 18-hole course. English country house An English country house is a large house or mansion in the English countryside. Such houses were often owned by individuals who also owned
4270-473: Is politics; they talk politics; and they make politics, quite spontaneously. There are no written terms for distinguishing between vast country palaces and comparatively small country houses; the descriptive terms, which can include castle , manor and court , provide no firm clue and are often only used because of a historical connection with the site of such a building. Therefore, for ease or explanation, Britain's country houses can be categorised according to
4392-448: Is the ITV series Downton Abbey . No%C3%ABl Coward Sir Noël Peirce Coward (16 December 1899 – 26 March 1973) was an English playwright, composer, director, actor, and singer, known for his wit, flamboyance, and what Time magazine called "a sense of personal style, a combination of cheek and chic, pose and poise". Coward attended a dance academy in London as
4514-400: The 1943 Academy Awards ceremony. Coward played a naval captain, basing the character on his friend Lord Louis Mountbatten . Lean went on to direct and adapt film versions of three Coward plays. Coward's most enduring work from the war years was the hugely successful black comedy Blithe Spirit (1941), about a novelist who researches the occult and hires a medium. A séance brings back
4636-506: The City of London . Coward was homosexual but, following the convention of his times, this was never publicly mentioned. The critic Kenneth Tynan's description in 1953 was close to an acknowledgment of Coward's sexuality: "Forty years ago he was Slightly in Peter Pan , and you might say that he has been wholly in Peter Pan ever since. No private considerations have been allowed to deflect
4758-706: The D. W. Griffith film Hearts of the World in an uncredited role. He began writing plays, collaborating on the first two ( Ida Collaborates (1917) and Women and Whisky (1918)) with his friend Esmé Wynne. His first solo effort as a playwright was The Rat Trap (1918) which was eventually produced at the Everyman Theatre , Hampstead , in October 1926. During these years, he met Lorn McNaughtan, who became his private secretary and served in that capacity for more than forty years, until her death. In 1920, at
4880-477: The Great Depression , writing a succession of popular hits. They ranged from large-scale spectaculars to intimate comedies. Examples of the former were the operetta Bitter Sweet (1929), about a woman who elopes with her music teacher, and the historical extravaganza Cavalcade (1931) at Drury Lane , about thirty years in the lives of two families, which required a huge cast, gargantuan sets and
5002-580: The OMs , demonstrably the greatest living English playwright." Time wrote that "in the 60s... his best work, with its inspired inconsequentiality, seemed to exert not only a period charm but charm, period." By the end of the 1960s, Coward developed arteriosclerosis and, during the run of Suite in Three Keys , struggled with bouts of memory loss. This also affected his work in The Italian Job , and he retired from acting immediately afterwards. Coward
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5124-563: The Savoy Hotel . During one air raid on the area around the Savoy he joined Carroll Gibbons and Judy Campbell in impromptu cabaret to distract the captive guests from their fears. Another of Coward's wartime projects, as writer, star, composer and co-director (alongside David Lean), was the naval film drama In Which We Serve . The film was popular on both sides of the Atlantic, and he was awarded an honorary certificate of merit at
5246-399: The agricultural depressions of the 1870s , the estates, of which country houses were the hub, provided their owners with incomes. However, the late 19th and early 20th centuries were the swansong of the traditional English country house lifestyle. Increased taxation and the effects of World War I led to the demolition of hundreds of houses ; those that remained had to adapt to survive. While
5368-589: The diæresis (" I didn't put the dots over the 'e' in Noël. The language did. Otherwise it's not Noël but Nool!"). The press and many book publishers failed to follow suit, and his name was printed as 'Noel' in The Times , The Observer and other contemporary newspapers and books. "Why", asked Coward, "am I always expected to wear a dressing-gown, smoke cigarettes in a long holder and say 'Darling, how wonderful'?" The answer lay in Coward's assiduous cultivation of
5490-512: The 1850s, with the English economy booming, new mansions were built in one of the many revivalist architectural styles popular throughout the 19th century. The builders of these new houses were able to take advantage of the political unrest in Europe that gave rise to a large trade in architectural salvage. This new wave of country house building is exemplified by the Rothschild properties in
5612-419: The 18th century with houses such as Castle Howard , Kedleston Hall and Holkham Hall . Such building reached its zenith from the late 17th century until the mid-18th century; these houses were often completely built or rebuilt in their entirety by one eminent architect in the most fashionable architectural style of the day and often have a suite of Baroque state apartments, typically in enfilade , reserved for
5734-488: The 1960s: he was no longer seen as the smooth 1930s sophisticate, but as the doyen of the theatre. As The New Statesman wrote in 1964, "Who would have thought the landmarks of the Sixties would include the emergence of Noël Coward as the grand old man of British drama? There he was one morning, flipping verbal tiddlywinks with reporters about "Dad's Renaissance"; the next he was ... beside Forster , T. S. Eliot and
5856-474: The 20th century, they slept in proper beds, wore well-made adequate clothes and received three proper meals a day, plus a small wage. In an era when many still died from malnutrition or lack of medicine, the long working hours were a small price to pay. As a result of the aristocratic habit of only marrying within the aristocracy, and whenever possible to a sole heiress, many owners of country houses owned several country mansions, and would visit each according to
5978-575: The Burning Pestle in Birmingham and then London. He did not enjoy the role, finding Francis Beaumont and his sometime collaborator John Fletcher "two of the dullest Elizabethan writers ever known ... I had a very, very long part, but I was very, very bad at it". Nevertheless, The Manchester Guardian thought that Coward got the best out of the role, and The Times called the play "the jolliest thing in London". Coward completed
6100-407: The National Theatre's 2008 exhibition, The Independent commented, "His famous silk, polka-dot dressing gown and elegant cigarette holder both seem to belong to another era. But 2008 is proving to be the year that Britain falls in love with Noël Coward all over again." As soon as he achieved success he began polishing the Coward image: an early press photograph showed him sitting up in bed holding
6222-655: The New Theatre) in London was renamed the Noël Coward Theatre in his honour in 2006. Coward was born in 1899 in Teddington , Middlesex , a south-western suburb of London. His parents were Arthur Sabin Coward (1856–1937), a piano salesman, and Violet Agnes Coward (1863–1954), daughter of Henry Gordon Veitch, a captain and surveyor in the Royal Navy . Noël Coward was the second of their three sons,
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#17327804450656344-765: The Queen Mother replied, "I came because he was my friend." The Noël Coward Theatre in St Martin's Lane , originally opened in 1903 as the New Theatre and later called the Albery, was renamed in his honour after extensive refurbishment, re-opening on 1 June 2006. A statue of Coward by Angela Conner was unveiled by the Queen Mother in the foyer of the Theatre Royal, Drury Lane in 1998. There are also sculptures of Coward displayed in New York and Jamaica, and
6466-819: The Second World War. It is a Grade II listed building . In the 1950s, Coward left the UK for tax reasons, receiving harsh criticism in the press. He first settled in Bermuda but later bought houses in Jamaica and Switzerland ( Chalet Covar in the village of Les Avants , near Montreux ), which remained his homes for the rest of his life. His expatriate neighbours and friends included Joan Sutherland , David Niven , Richard Burton and Elizabeth Taylor , and Julie Andrews and Blake Edwards in Switzerland and Ian Fleming and his wife Ann in Jamaica. Coward
6588-811: The West End: The Vortex , Fallen Angels , Hay Fever and On with the Dance . Coward was turning out numerous plays and acting in his own works and others'. Soon his frantic pace caught up with him while starring in The Constant Nymph . He collapsed and was ordered to rest for a month; he ignored the doctors and sailed for the US to start rehearsals for his play This Was a Man . In New York he collapsed again, and had to take an extended rest, recuperating in Hawaii. Other Coward works produced in
6710-489: The World in 80 Days (1956), Our Man in Havana (1959), Bunny Lake Is Missing (1965), Boom! (1968) and The Italian Job (1969). Stage and film opportunities he turned down in the 1950s included an invitation to compose a musical version of Pygmalion (two years before My Fair Lady was written), and offers of the roles of the king in the original stage production of The King and I , and Colonel Nicholson in
6832-627: The age of 20, Coward starred in his own play, the light comedy I'll Leave It to You . After a three-week run in Manchester it opened in London at the New Theatre (renamed the Noël Coward Theatre in 2006), his first full-length play in the West End. Neville Cardus 's praise in The Manchester Guardian was grudging. Notices for the London production were mixed, but encouraging. The Observer commented, "Mr Coward... has
6954-467: The best-known examples of the showy prodigy house , often built with the intention of attracting the monarch to visit. By the reign of Charles I , Inigo Jones and his form of Palladianism had changed the face of English domestic architecture completely, with the use of turrets and towers as an architectural reference to the earlier castles and fortified houses completely disappearing. The Palladian style, in various forms, interrupted briefly by baroque ,
7076-828: The children's play Where the Rainbow Ends . Coward played in the piece in 1911 and 1912 at the Garrick Theatre in London's West End . In 1912 Coward also appeared at the Savoy Theatre in An Autumn Idyll (as a dancer in the ballet) and at the London Coliseum in A Little Fowl Play , by Harold Owen, in which Hawtrey starred. Italia Conti engaged Coward to appear at the Liverpool Repertory Theatre in 1913, and in
7198-524: The circumstances of their creation. The great houses are the largest of the country houses; in truth palaces, built by the country's most powerful – these were designed to display their owners' power or ambitions to power. Really large unfortified or barely fortified houses began to take over from the traditional castles of the crown and magnates during the Tudor period, with vast houses such as Hampton Court Palace and Burghley House , and continued until
7320-664: The comic " Mad Dogs and Englishmen " from Words and Music , and "Mrs Worthington". With the outbreak of the Second World War Coward abandoned the theatre and sought official war work. After running the British propaganda office in Paris, where he concluded that "if the policy of His Majesty's Government is to bore the Germans to death I don't think we have time", he worked on behalf of British intelligence. His task
7442-523: The country saw the building of the first of the unfortified great houses. Henry VIII 's Dissolution of the Monasteries saw many former ecclesiastical properties granted to the King's favourites, who then converted them into private country houses. Woburn Abbey , Forde Abbey and many other mansions with abbey or priory in their name became private houses during this period. Other terms used in
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#17327804450657564-506: The curtain calls and spitting at Coward as he left the theatre. Coward later said of this flop, "My first instinct was to leave England immediately, but this seemed too craven a move, and also too gratifying to my enemies, whose numbers had by then swollen in our minds to practically the entire population of the British Isles." By 1929 Coward was one of the world's highest-earning writers, with an annual income of £50,000, more than £3 million in terms of 2020 values. Coward thrived during
7686-428: The design of the wing around the next corner. These varying "improvements", often criticised at the time, today are the qualities that make English country houses unique. Wealthy and influential people, often bored with their formal duties, go to the country in order to get out of London, the ugliest and most uncomfortable city in the world; they invented the long week-end to stay away as long as possible. Their métier
7808-502: The drive of his career; like Gielgud and Rattigan , like the late Ivor Novello, he is a congenital bachelor." Coward firmly believed his private business was not for public discussion, considering " any sexual activities when over-advertised" to be tasteless. Even in the 1960s, Coward refused to acknowledge his sexual orientation publicly, wryly observing, "There are still a few old ladies in Worthing who don't know." Despite this reticence, he encouraged his secretary Cole Lesley to write
7930-517: The duke's death, "I suddenly find that I loved him more than I knew." Coward maintained close friendships with many women, including the actress and author Esmé Wynne-Tyson, his first collaborator and constant correspondent; Gladys Calthrop , who designed sets and costumes for many of his works; his secretary and close confidante Lorn Loraine; the actresses Gertrude Lawrence, Joyce Carey and Judy Campbell; and "his loyal and lifelong amitié amoureuse ", Marlene Dietrich . In his profession, Coward
8052-427: The early 1970s, hundreds of country houses were demolished . Houses that survived destruction are now mostly Grade I or II listed as buildings of historic interest with restrictions on restoration and re-creation work. However such work is usually very expensive. Several houses have been restored, some over many years. For example at Copped Hall where the restoration started in 1995 continues to this day. Although
8174-415: The eldest of whom had died in 1898 at the age of six. Coward's father lacked ambition and industry, and family finances were often poor. Coward was bitten by the performing bug early and appeared in amateur concerts by the age of seven. He attended the Chapel Royal Choir School as a young child. He had little formal schooling but was a voracious reader. Encouraged by his ambitious mother, who sent him to
8296-401: The estate are separately recorded in the National Heritage List for England as designated Grade II listed buildings : the lodge, the gate piers, and the house itself. The Crosse family of East Lancashire first acquired property in the Chorley area around 1400 and built a house on the Whittle-le-Woods site in the 1700s. Richard Crosse Legh was the High Sheriff of Lancashire for 1807 and
8418-658: The film The Bridge on the River Kwai . Invited to play the title role in the 1962 film Dr. No , he replied, "No, no, no, a thousand times, no." In the same year, he turned down the role of Humbert Humbert in Lolita , saying, "At my time of life the film story would be logical if the 12-year-old heroine was a sweet little old lady." In the mid-1960s and early 1970s successful productions of his 1920s and 1930s plays, and new revues celebrating his music, including Oh, Coward! on Broadway and Cowardy Custard in London, revived Coward's popularity and critical reputation. He dubbed this comeback "Dad's Renaissance". It began with
8540-587: The ghost of his first wife, causing havoc for the novelist and his second wife. With 1,997 consecutive performances, it broke box-office records for the run of a West End comedy, and was also produced on Broadway, where its original run was 650 performances. The play was adapted into a 1945 film , directed by Lean. Coward toured during 1942 in Blithe Spirit , in rotation with his comedy Present Laughter and his working-class drama This Happy Breed . In his Middle East Diary Coward made several statements that offended many Americans. In particular, he commented that he
8662-418: The home counties and Bletchley Park (rebuilt in several styles, and famous for its code-breaking role in World War II). The slow decline of the English country house coincided with the rise not just of taxation, but also of modern industry, along with the agricultural depression of the 1870s. By 1880, this had led some owners into financial shortfalls as they tried to balance maintenance of their estates with
8784-450: The home front than by intelligence work: "Go and sing to them when the guns are firing – that's your job!" Coward, though disappointed, followed this advice. He toured, acted and sang indefatigably in Europe, Africa, Asia and America. He wrote and recorded war-themed popular songs, including " London Pride " and " Don't Let's Be Beastly to the Germans ". His London home was wrecked by German bombs in 1941, and he took up temporary residence at
8906-435: The household. These houses were always an alternative residence to a London house. During the 18th and 19th centuries, for the highest echelons of English society, the country house served as a place for relaxing, hunting and running the country with one's equals at the end of the week, with some houses having their own theatre where performances were staged. The country house, however, was not just an oasis of pleasure for
9028-556: The immediately preceding war then in World War I, were now paying far higher rates of tax, and agricultural incomes had dropped. Thus, the solution for many was to hold contents auctions and then demolish the house and sell its stone, fireplaces , and panelling . This is what happened to many of Britain's finest houses. Despite this slow decline, so necessary was the country house for entertaining and prestige that in 1917 Viscount Lee of Fareham donated his country house Chequers to
9150-438: The income they provided. Some relied on funds from secondary sources such as banking and trade while others, like the severely impoverished Duke of Marlborough , sought to marry American heiresses to save their country houses and lifestyles. The ultimate demise began immediately following World War I . The members of the huge staff required to maintain large houses had either left to fight and never returned, departed to work in
9272-564: The influence of Bernard Shaw on Coward's writing, thought more highly of the play than of Coward's newly found fans: "I was unfortunately wedged in the centre of a group of his more exuberant friends who greeted each of his sallies with 'That's a Noëlism!'" The play ran in London from 1 February to 24 March 1923, after which Coward turned to revue , co-writing and performing in André Charlot 's London Calling! In 1924, Coward achieved his first great critical and financial success as
9394-644: The king irresponsible, telling Churchill, "England doesn't wish for a Queen Cutie." Coward disliked propaganda in plays: Nevertheless, his own views sometimes surfaced in his plays: both Cavalcade and This Happy Breed are, in the words of the playwright David Edgar , "overtly Conservative political plays written in the Brechtian epic manner." In religion, Coward was agnostic. He wrote of his views, "Do I believe in God? I can't say No and I can't say Yes, To me it's anybody's guess." Coward spelled his first name with
9516-491: The landscape, while some of the great houses such as Kedleston Hall and Holkham Hall were built as "power houses" to dominate the landscape, and were most certainly intended to be "stately" and impressive. In his book Historic Houses: Conversations in Stately Homes , the author and journalist Robert Harling documents nineteen "stately homes"; these range in size from the vast Blenheim Palace and Castle Howard to
9638-544: The latter two are ducal palaces, Montacute, although built by a Master of the Rolls to Queen Elizabeth I, was occupied for the next 400 years by his descendants, who were gentry without a London townhouse , rather than aristocracy. They finally ran out of funds in the early 20th century. However, the vast majority of English country houses, often owned at different times by gentlemen and peers , are an evolution of one or more styles with facades and wings in different styles in
9760-537: The mid-to-late 1920s included the plays Easy Virtue (1926), a drama about a divorcée's clash with her snobbish in-laws; The Queen Was in the Parlour , a Ruritanian romance ; This Was a Man (1926), a comedy about adulterous aristocrats; The Marquise (1927), an eighteenth-century costume drama; Home Chat (1927), a comedy about a married woman's fidelity; and the revues On with the Dance (1925) and This Year of Grace (1928). None of these shows has entered
9882-655: The minuscule Ebberston Hall , and in architecture from the Jacobean Renaissance of Hatfield House to the eccentricities of Sezincote . The book's collection of stately homes also includes George IV's Brighton town palace, the Royal Pavilion . The country houses of England have evolved over the last five hundred years. Before this time, larger houses were usually fortified, reflecting the position of their owners as feudal lords , de facto overlords of their manors . The Tudor period of stability in
10004-416: The most eminent guests, the entertainment of whom was of paramount importance in establishing and maintaining the power of the owner. The common denominator of this category of English country houses is that they were designed to be lived in with a certain degree of ceremony and pomp. It was not unusual for the family to have a small suite of rooms for withdrawing in privacy away from the multitude that lived in
10126-399: The munitions factories, or filled the void left by the fighting men in other workplaces. Of those who returned after the war, many left the countryside for better-paid jobs in towns. The final blow for many country houses came following World War II ; having been requisitioned during the war, they were returned to the owners in poor repair. Many estate owners, having lost their heirs, if not in
10248-468: The names of houses to describe their origin or importance include palace , castle , court , hall , mansion , park , house , manor , and place . It was during the second half of the reign of Elizabeth I , and under her successor, James I , that the first architect-designed mansions, thought of today as epitomising the English country house, began to make their appearance. Burghley House , Longleat House , and Hatfield House are among
10370-454: The nation for the use of a prime minister who might not possess one of his or her own. Chequers still fulfills that need today as do both Chevening House and Dorneywood , donated for sole use of high-ranking ministers of the Crown. Today, many country houses have become hotels, schools, hospitals and museums, while others have survived as conserved ruins, but from the early 20th century until
10492-709: The north coast of the island. A memorial service was held in St Martin-in-the-Fields in London on 29 May 1973, for which the Poet Laureate , John Betjeman , wrote and delivered a poem in Coward's honour, John Gielgud and Laurence Olivier read verse, and Yehudi Menuhin played Bach . On 28 March 1984 a memorial stone was unveiled by the Queen Mother in Poets' Corner , Westminster Abbey . Thanked by Coward's partner, Graham Payn , for attending,
10614-497: The numbers from his Las Vegas act. It was followed by productions of Blithe Spirit in which he starred with Claudette Colbert , Lauren Bacall and Mildred Natwick and This Happy Breed with Edna Best and Roger Moore . Despite excellent reviews, the audience viewing figures were moderate. During the 1950s and 1960s Coward continued to write musicals and plays. After the Ball , his 1953 adaptation of Lady Windermere's Fan ,
10736-535: The outbreak of the Second World War, Coward volunteered for war work, running the British propaganda office in Paris. He also worked with the Secret Service, seeking to use his influence to persuade the American public and government to help Britain. Coward won an Academy Honorary Award in 1943 for his naval film drama In Which We Serve and was knighted in 1970. In the 1950s he achieved fresh success as
10858-468: The owner of a "power house" or a small manor, the inhabitants of the English country house have become collectively referred to as the ruling class, because this is exactly what they did in varying degrees, whether by having high political influence and power in national government, or in the day-to-day running of their own localities or "county" in such offices as lord/deputy lieutenant , magistrates , or occasionally even clergy. The Country house mystery
10980-529: The owner's twelve children. Canons Ashby , home to poet John Dryden 's family, is another example of architectural evolution: a medieval farmhouse enlarged in the Tudor era around a courtyard, given grandiose plaster ceilings in the Stuart period , and then having Georgian façades added in the 18th century. The whole is a glorious mismatch of styles and fashions that seamlessly blend together. These could be called
11102-512: The ownership or management of some houses has been transferred to a private trust , most notably at Chatsworth , other houses have transferred art works and furnishings under the Acceptance in Lieu scheme to ownership by various national or local museums, but retained for display in the building. This enables the former owners to offset tax, the payment of which would otherwise have necessitated
11224-459: The playwright Keith Winter, actors Louis Hayward and Alan Webb , his manager Jack Wilson and the composer Ned Rorem , who published details of their relationship in his diaries. Coward had a 19-year friendship with Prince George, Duke of Kent , but biographers differ on whether it was platonic. Payn believed that it was, although Coward reportedly admitted to the historian Michael Thornton that there had been "a little dalliance". Coward said, on
11346-462: The private sale of the art works. For example, tapestries and furniture at Houghton Hall are now owned by the Victoria and Albert Museum . In addition, increasing numbers of country houses hold licences for weddings and civil ceremonies . Another source of income is to use the house as a venue for parties, a film location or a corporate entertainment venue. While many country houses are open to
11468-472: The public and derive income through that means, they remain homes, in some cases inhabited by the descendants of their original owners. The lifestyles of those living and working in a country house in the early 20th century were recreated in a BBC television programme, The Edwardian Country House , filmed at Manderston House in Scotland. Another television programme which features life in country houses
11590-497: The public view of Coward's flamboyant lifestyle, Churchill used as his reason for withholding the honour Coward's £200 fine for contravening currency regulations in 1941. Had the Germans invaded Britain, Coward was scheduled to be arrested and killed, as he was in The Black Book along with other figures such as Virginia Woolf , Paul Robeson , Bertrand Russell , C. P. Snow and H. G. Wells . When this came to light after
11712-402: The regular repertoire, but the last introduced one of Coward's best-known songs, "A Room with a View". His biggest failure in this period was the play Sirocco (1927), which concerns free love among the wealthy. It starred Ivor Novello , of whom Coward said, "the two most beautiful things in the world are Ivor's profile and my mind". Theatregoers hated the play, showing violent disapproval at
11834-461: The regular theatre repertoire. He composed hundreds of songs, in addition to well over a dozen musical theatre works (including the operetta Bitter Sweet and comic revues ), screenplays, poetry, several volumes of short stories, the novel Pomp and Circumstance , and a three-volume autobiography. Coward's stage and film acting and directing career spanned six decades, during which he starred in many of his own works, as well as those of others. At
11956-709: The same year he was cast as the Lost Boy Slightly in Peter Pan . He reappeared in Peter Pan the following year, and in 1915 he was again in Where the Rainbow Ends . He worked with other child actors in this period, including Hermione Gingold (whose mother threatened to turn "that naughty boy" out); Fabia Drake ; Esmé Wynne , with whom he collaborated on his earliest plays; Alfred Willmore, later known as Micheál Mac Liammóir ; and Gertrude Lawrence who, Coward wrote in his memoirs, "gave me an orange and told me
12078-519: The season: Grouse shooting in Scotland , pheasant shooting and fox hunting in England. The Earl of Rosebery , for instance, had Dalmeny House in Scotland, Mentmore Towers in Buckinghamshire, and another house near Epsom just for the racing season. For many, this way of life, which began a steady decline in 1914, continued well into the 20th century, and for a few continues to this day. In
12200-444: The second category of Britain's country houses are those that belonged to the squirearchy or landed gentry . These tend either to have evolved from medieval hall houses, with rooms added as required, or were purpose-built by relatively unknown local architects. Smaller, and far greater in number than the "power houses", these were still the epicentre of their own estate, but were often the only residence of their owner. However, whether
12322-411: The staccato, blind impulsiveness of a machine-gun. In 1955 Coward's cabaret act at Las Vegas, recorded live for the gramophone and released as Noël Coward at Las Vegas , was so successful that CBS engaged him to write and direct a series of three 90-minute television specials for the 1955–56 season. The first of these, Together With Music , paired Coward with Mary Martin , featuring him in many of
12444-533: The subject and played an explicitly homosexual character. The daring piece earned Coward new critical praise. He intended to star in the trilogy on Broadway but was too ill to travel. Only two of the Suite in Three Keys plays were performed in New York, with the title changed to Noël Coward in Two Keys , starring Hume Cronyn . Coward won new popularity in several notable films later in his career, such as Around
12566-635: The troops, was a supreme success, first in London at the Café de Paris , and later in Las Vegas . The theatre critic Kenneth Tynan wrote: To see him whole, public and private personalities conjoined, you must see him in cabaret ... he padded down the celebrated stairs ... halted before the microphone on black-suede-clad feet, and, upraising both hands in a gesture of benediction, set about demonstrating how these things should be done. Baring his teeth as if unveiling some grotesque monument, and cooing like
12688-493: The true English country house. Wilton House , one of England's grandest houses, is in a remarkably similar vein; although, while the Drydens, mere squires, at Canons Ashby employed a local architect, at Wilton the mighty Earls of Pembroke employed the finest architects of the day: first Holbein , 150 years later Inigo Jones, and then Wyatt followed by Chambers. Each employed a different style of architecture, seemingly unaware of
12810-598: The upper classes. Its notoriety and fiery performances attracted large audiences, justifying a move from a small suburban theatre to a larger one in the West End. Coward, still having trouble finding producers, raised the money to produce the play himself. During the run of The Vortex , Coward met Jack Wilson , an American stockbroker (later a director and producer), who became his business manager and lover. At first Wilson managed Coward's business affairs well, but later abused his position to embezzle from his employer. The success of The Vortex in both London and America caused
12932-474: The war, Coward wrote an alternative reality play, Peace in Our Time , depicting an England occupied by Nazi Germany . Coward's new plays after the war were moderately successful but failed to match the popularity of his pre-war hits. Relative Values (1951) addresses the culture clash between an aristocratic English family and a Hollywood actress with matrimonial ambitions; South Sea Bubble (1951)
13054-451: The war, Coward wrote: "If anyone had told me at that time I was high up on the Nazi blacklist, I should have laughed ... I remember Rebecca West , who was one of the many who shared the honour with me, sent me a telegram which read: 'My dear – the people we should have been seen dead with'." Churchill's view was that Coward would do more for the war effort by entertaining the troops and
13176-507: The weekend and bemuse and enrage each other's guests. Some writers have seen elements of Coward's old mentor, Mrs Astley Cooper, and her set in the characters of the family. By the 1970s the play was recognised as a classic, described in The Times as a "dazzling achievement; like The Importance of Being Earnest , it is pure comedy with no mission but to delight, and it depends purely on the interplay of characters, not on elaborate comic machinery." By June 1925 Coward had four shows running in
13298-603: Was knighted in 1970, and was elected a fellow of the Royal Society of Literature . He received a Tony Award for lifetime achievement in 1970. In 1972, he was awarded an honorary Doctor of Letters degree by the University of Sussex . At the age of 73, Coward died at his home, Firefly Estate , in Jamaica on 26 March 1973 of heart failure and was buried three days later on the brow of Firefly Hill, overlooking
13420-535: Was "less impressed by some of the mournful little Brooklyn boys lying there in tears amid the alien corn with nothing worse than a bullet wound in the leg or a fractured arm". After protests from both The New York Times and The Washington Post , the Foreign Office urged Coward not to visit the United States in January 1945. He did not return to America again during the war. In the aftermath of
13542-520: Was a popular genre of English detective fiction in the 1920s and 1930s; set in the residence of the gentry and often involving a murder in a country house temporarily isolated by a snowstorm or similar with the suspects all at a weekend house party. Following the Industrial Revolution of the 18th century, a third category of country houses was built as newly rich industrialists and bankers were eager to display their wealth and taste. By
13664-413: Was a talented boy, God knows, and, when washed and smarmed down a bit, passably attractive. There appeared to be no earthly reason why Miss Lila Field shouldn't jump at me, and we both believed that she would be a fool indeed to miss such a magnificent opportunity. The leading actor-manager Charles Hawtrey , whom the young Coward idolised and from whom he learned a great deal about the theatre, cast him in
13786-523: Was a witness at the Flemings' wedding, but his diaries record his exasperation with their constant bickering. Coward's political views were conservative, but not unswervingly so: he despised the government of Neville Chamberlain for its policy of appeasing Nazi Germany, and he differed sharply with Winston Churchill over the abdication crisis of 1936. Whereas Churchill supported Edward VIII 's wish to marry "his cutie", Wallis Simpson , Coward thought
13908-477: Was briefly MP for Wigan in 1841 (before his election was declared void). After his death ownership of the property passed to his son Thomas Richard Crosse, Hon. Colonel of the 3rd and 4th Battalions, North Lancashire Regiment, who died in 1897. He had married Mary, the eldest daughter of the 4th Earl of Castle Stewart and had two daughters; Kathleen Mary and Ella Beatrice. Kathleen Mary never married and Ella Beatrice married John Ormerod Scarlet Thursby. The estate
14030-418: Was expected of me. Part of the job." Time concluded, "Coward's greatest single gift has not been writing or composing, not acting or directing, but projecting a sense of personal style, a combination of cheek and chic, pose and poise." Coward's distinctive clipped diction arose from his childhood: his mother was deaf and Coward developed his staccato style of speaking to make it easier for her to hear what he
14152-480: Was in the care of the orphanage. He became Collinson's godfather and helped him to get started in show business. When Collinson was a successful director, he invited Coward to play a role in The Italian Job . Graham Payn also played a small role in the film. In 1926, Coward acquired Goldenhurst Farm , in Aldington, Kent , making it his home for most of the next thirty years, except when the military used it during
14274-524: Was really quite good in it, owing to the kindness and care of Hawtrey's direction. He took endless trouble with me ... and taught me during those two short weeks many technical points of comedy acting which I use to this day." In 1918, Coward was conscripted into the Artists Rifles but was assessed as unfit for active service because of a tubercular tendency, and he was discharged on health grounds after nine months. That year he appeared in
14396-425: Was saying; it also helped him eradicate a slight lisp. His nickname, "The Master", "started as a joke and became true", according to Coward. It was used of him from the 1920s onwards. Coward himself made light of it: when asked by a journalist why he was known as "The Master", he replied, "Oh, you know – Jack of all trades, master of none." He could, however, joke about his own immodesty: "My sense of my importance to
14518-562: Was the last musical he premiered in the West End; his last two musicals were first produced on Broadway. Sail Away (1961), set on a luxury cruise liner, was Coward's most successful post-war musical, with productions in America, Britain and Australia. The Girl Who Came to Supper , a musical adaptation of The Sleeping Prince (1963), ran for only three months. He directed the successful 1964 Broadway musical adaptation of Blithe Spirit , called High Spirits . Coward's late plays include
14640-422: Was to predominate until the second half of the 18th century when, influenced by ancient Greek styles, it gradually evolved into the neoclassicism championed by such architects as Robert Adam . Some of the best known of England's country houses were the work of only one architect/designer, built in a relatively short, particular time: Montacute House , Chatsworth House , and Blenheim Palace are examples. While
14762-419: Was to use his celebrity to influence American public and political opinion in favour of helping Britain. He was frustrated by British press criticism of his foreign travel while his countrymen suffered at home, but he was unable to reveal that he was acting on behalf of the Secret Service. In 1942 George VI wished to award Coward a knighthood for his efforts, but was dissuaded by Winston Churchill . Mindful of
14884-493: Was widely admired and loved for his generosity and kindness to those who fell on hard times. Stories are told of the unobtrusive way in which he relieved the needs or paid the debts of old theatrical acquaintances who had no claim on him. From 1934 until 1956, Coward was the president of the Actors Orphanage , which was supported by the theatrical industry. In that capacity, he befriended the young Peter Collinson , who
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