Harry Worth Should Auld Acquaintance Be Forgot

Harry Bourlon Illingsworth, professionally known as Harry Worth, was an English comedy actor, comedian and ventriloquist. Unlike the brash humour of other comedians at the time, Worth portrayed a charming, gentle and genial character, totally bemused by life, creating comedic confusion wherever he went.
 
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Harry Bourlon Illingsworth, professionally known as Harry Worth, was an English comedy actor, comedian and ventriloquist. Unlike the brash humour of other comedians at the time, Worth portrayed a charming, gentle and genial character, totally bemused by life, creating comedic confusion wherever he went.
 
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Harry Bourlon Illingsworth, professionally known as Harry Worth, was an English comedy actor, comedian and ventriloquist. Unlike the brash humour of other comedians at the time, Worth portrayed a charming, gentle and genial character, totally bemused by life, creating comedic confusion wherever he went.
 
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Harry Bourlon Illingsworth, professionally known as Harry Worth, was an English comedy actor, comedian and ventriloquist. Unlike the brash humour of other comedians at the time, Worth portrayed a charming, gentle and genial character, totally bemused by life, creating comedic confusion wherever he went.
 
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Harry Bourlon Illingsworth, professionally known as Harry Worth, was an English comedy actor, comedian and ventriloquist. Unlike the brash humour of other comedians at the time, Worth portrayed a charming, gentle and genial character, totally bemused by life, creating comedic confusion wherever he went.
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Jacqueline Swerdlow is the leader of the most unusual writers' workshop at West Bromley College. She is totally unperturbed by the new intake of aspiring writers, which includes A. A. Milne, William Wordsworth, George Eliot, August Strindberg, and Johann Wolfgang von Goethe. Mrs Swerdlow manages, with consummate ease, to misunderstand them all as she offers her own brand of literary advice.
A. A. Milne is good-natured and full of generosity and English bonhomie; Wordsworth reads about daffodils and tries to explain about the "common tongue of man"; and Strindberg is positively venomous towards the natural world, declaring daffodils "tumours of the earth".
During the tea break, Strindberg and George Eliot flirt outrageously. Elsewhere, Wordsworth swallows a goodly drop of the strange "tincture" given to him by his best friend, Coleridge.

Our Man In JamaicaBiographical comedy, by Marcy Kahan. Reconciled to being out of fashion, Noel Coward is determined to finish his first novel, until his neighbour Ian Fleming sets him an espionage challenges. Producer/Director Gordon House Ian Fleming: Nicholas Farrell Marlene Dietrich: Alison Pettitt Shrafft: Kerry Shale
Another tall tale involving Noel Coward (Malcolm Sinclair), this time taking place in Jamaica at the time of Fidel Castro’s revolution during the late 1950s. This time Coward was involved in a complex espionage scheme which involved him giving a speech on ‘the future of the London theatre’ to the Middlebrow Group, comprised mostly of aficionados and home workers, including secret code-words. No one could understand in the least what he was saying, but at least the speech provided an excuse for Ian Fleming (Nicholas Farrell) to show off his love of espionage. Contrast this attitude with that of Coward himself; in spite of his involvement in this scheme, he cared little now for a life of adventure, preferring instead to remain cooped up in his Jamaican eyrie, attended by his devoted secretary Lorne Lorraine (Eleanor Bron). Our Man in Jamaica was perhaps the most preposterous of the Noel Coward mystery series – a prolix pastiche of James Bond, with Coward keeping the stiffest of stiff upper lips, while being out-phlegmatized by the British agent Atkinson (Peter Donaldson, taking a well-earned rest from his Radio 4 announcing duties). In a sense the play was not really about Coward at all, but rather a meditation on Englishness – its virtues (sang-froid, calmness) and its vices (foolhardiness). The director was Gordon House.

Death at the Desert InnScene of one of Noel Coward’s greatest cabaret triumphs is the setting for a “highly probable murder mystery”, complete with Judy Garland, a showgirl, a Broadway agent, an unlikely croupier, and a US Congressman. Another crime to be solved with the Master’s favourite weapon: wit. Director: Ned Chaillet Judy Garland: Belinda Lang Joe: Jake Broder Mercedes: Meredith MacNeil Nicholas: Peter Swander Floyd: Nathan Osgood Babyface: William Hootklns
A far-fetched tale focused around Noel Coward’s highly successful engagement at the Desert Inn, Las Vegas, in 1956 (which led to a new and lucrative career as a cabaret artist and character actor), Death at the Desert Inn had Coward (Malcolm Sinclair) investigating the death of a chorus-girl and becoming involved in a plot involving a would-be presidential candidate (Peter Swander) and a Jewish mafioso with the highly inappropriate moniker of Baby-Face Puccini (William Hootkins). To be honest, the whodunit side of the tale didn’t seem really significant; what was far more interesting was Kahan’s depiction of Coward’s sheer professionalism, as he overcame apparently insuperable odds (a dinner theatre audience more interested in eating, drinking and gambling than in the entertainment provided), and thereby reestablished himself as “The Master” on both sides of the Atlantic. Despite his apparent insouciance, Coward was genuinely concerned about his ability to fulfil the task; it was only down to sheer professionalism, coupled with a unique ability to work an audience, that his success was achieved. More importantly, the Las Vegas experience helped Coward understand the importance of being himself; unlike Britain, America in the mid-1950s seemed more tolerant of difference. No one expected him to tell jokes, or conform to any particular public persona (as was the case in Britain). For this reason Coward decided to quit Britain for good and become an ex-pat, making his home in Jamaica and taking on character parts in Hollywood as well as British films. The director of this new play was Ned Chaillet.