The Apollo Shaftesbury on Shaftesbury Avenue in London is the venue of the 2008 revival of Noel Coward's 1920s play - The Vortex. It is a tale of vanity, consequence and the fragility of relationships when personal weaknesses are exploited. Peter Hall directs the retelling of this classic theatrical production, breathing life into the characters of socialite Florence Lancaster, played by Felicity Kendal, and her son Nicky Lancaster (Dan Stevens).
When Noel Coward wrote The Vortex in 1924 his part-intention was to shock audiences through the conduct of the play's central characters. Florence Lancaster is a glamorous but ageing high society queen - self absorbed, extravagant and with an appetite for extra-marital liaisons involving handsome younger men. Her son, Nicky Lancaster, is a sensitive musician, dependent upon a drug habit - part of which, he claims, is by his mother's doing. Today extra marital affairs and drug taking might not be as shocking to theatre audiences as they were in the 1920s, but Peter Hall's exquisite direction ensures that that these themes remain relevant. Concepts such as coping with personal weaknesses and dealing with strained family relationships - arguably situations that are more relevant now than they were in the 1920s - come to the fore too in a production that does justice to Noel Coward's original.
The Story of the Vortex
The play opens at the extravagant Mayfair home of Florence Lancaster. On the surface it is obvious she leads a comfortable existence. The man in her life, other than her husband, is a handsome guardsman called Tom who appears to be half her age. But from the outset the audience gets a sense that all is not what it seems in Florence's life. Yet it takes until her son returns from a year in Paris, complete with fiancée, Bunty Mainwaring, on his arm and a drug habit revelation, for the characters to be consumed by a 'vortex of beastliness'.
In a twist of fate that sees Nicky Lancaster's fiancée renew her love acquaintance with an old flame, which just happens to be Florence's lover, Tom, Florence and Nicky are left to face the harsh reality of their situations together but alone.
In writing the Vortex Noel Coward crafted a story that extensively draws in the supporting cast, making them integral to the play, rather than allowing them to linger on the sidelines. Audiences will find themselves being drawn into the lives of Tom and Bunty, as well as that of Helen - a character who has strong affection for Florence, and seems to understand Nicky better than he does himself. The characters of Pauncey and Clara Hibbert, played by Barry Stanton and Annette Badland, bring a comical edge to proceedings.
The Vortex plays at the Apollo Shaftesbury in the West End until June 7th 2008. Run time is 2hrs and 15 minutes, including two intervals. The nearest tube station to the theatre is Piccadilly Circus.
Running Time: 2 hours (2 breaks) Age limit 11 years +
Venue Information
Travel
Nearest Underground: Piccadilly Circus (Piccadilly/Bakerloo lines)
Take east exit for Shaftesbury Avenue.
Nearest Rail: Charing Cross
Take Bakerloo line to Piccadilly Circus.
Parking: Masterpark Cambridge Circus. NCP Newport Place, Wardour Street or Denman Street. Please note that parking in central London can be difficult and expensive. If possible please use public transport.
Access
Wheelchairs: Entrance via door to left of Upper Circle entrance on Shaftesbury Avenue. There are 12 steps down to the auditorium. Wheelchair users must be accompanied by a non-wheelchair using companion. Transfer seating only is available to all seats.
Hearing Impaired: Infrared. Avoid front stalls. A deposit for headsets is required.
Admittance Policy
Regrettably babies and toddlers will not be admitted to the theatre. Children aged 5 years and over will be admitted and, more specific age limits may apply depending on the production. Children should be able to sit, unaided, in their own seat and be attentive to the performance so as not to distract other paying members of the audience.
Admittance to the auditorium is always at the discretion of theatre management.