O'hara and byrne ignite coward's 'fallen angels' with risqué revival
A phone cord, a disastrous stage mishap, and a director’s inspired decision: that's how Kelli O’Hara’s performance in the Broadway revival of Noël Coward’s ‘Fallen Angels’ began. It wasn’t part of the script, of course – a dramatic slide across the stage while clad in a floor-length gown – but it’s a testament to the show’s delightfully chaotic energy.
A collision of wit and scandal
The play, a darkly comedic exploration of infidelity and societal constraints, pits two women, Julia (O’Hara) and Jane (Rose Byrne), against a shared love and a frustratingly unavailable man, Maurice (Mark Consuelos). What starts as a weekend of idle chatter quickly spirals into a full-blown battle of wits, champagne, and simmering resentments.
Beyond the surface: a transgressive exploration
‘Fallen Angels’ nearly faced censorship upon its premiere in 1925, thanks to its shockingly frank portrayal of female desire and premarital sex. Yet, the play’s subversive humor resonated with audiences, sparking outrage and criticism. Now, a century later, director Scott Ellis’s revival dares to revisit these uncomfortable truths, with O’Hara and Byrne pushing the boundaries of performance with each night’s show.
“It’s wildly transgressive in that sense,” Byrne observes. “When we sat around the rehearsal table, we ended up having discussions about the nature of sexuality and romantic relationships. People have feelings about it, and they have opinions on it—it’s an age-old part of our culture.”
O’Hara, a Tony winner and seven-time nominee, echoes this sentiment: “I just love pushing on that edge. I love being part of something that says, I’d like you to be surprised. If you’re still surprised, then let’s keep going. Let’s keep pushing it.’” She adds with a wry smile, “To think that there will be people in the audience even now who really can’t stand the thought of what these women are up to in this play, and especially how it ends…”
The production’s success is surprising, considering the play’s initial struggles. It ran for just 36 performances in 1927 and only had a single revival in 1956. But Ellis and the cast are determined to change that, injecting a fresh dose of daring into a timeless story.
“Rose and I talk all the time about how surprising it is, now that we’re doing it, that the play’s just not been done,” O’Hara says. “But I think it will start to be done now.”
Despite the playful chaos and fizzy fun, ‘Fallen Angels’ delves into deeper themes – the yearning for attention, the unspoken desires of women, and the enduring power of human connection. It’s a reminder that even amidst the champagne and the insults, there’s a potent, and occasionally uncomfortable, truth to be found.