Noël Coward’s Still Life at Theatre Royal Drury Lane Review
After its first production in 1936, Noël Coward’s Still Life returns to London in a very different format. Performed in the opulent Grand Saloon Bar at Theatre Royal Drury Lane and preceded by afternoon tea, this intimate production offers audiences the chance to experience Coward’s classic in an entirely new way. Originally one of a series of ten short plays, Still Life would go on to form the basis of the beloved classic film Brief Encounter.
Pairing theatre and food is always a lovely combination, but does the marriage of the two work in this production? In the stunning surroundings of the Grand Saloon Bar, audiences are treated to a truly scrumptious afternoon tea, with a choice of tea, a selection of sandwiches and savouries, scones with jam and clotted cream, and an assortment of petit fours. With its high ceilings and crystal chandeliers, the space provides a wonderfully elegant atmosphere, complemented by some genuinely delicious food. Once afternoon tea has been enjoyed, it’s time for the main event.
Set in the refreshment room at ‘Milford Junction’ station, this one-act play tells the story of an illicit affair between Dr Alec Harvey and Laura Jesson, following a brief chance encounter in which Alec, acting in a medical capacity, removes a piece of debris from Laura’s eye. The pair quickly go their separate ways, but over the course of the following four scenes, we watch as their relationship unfolds, blossoms and ultimately collapses before our eyes.
Both respectable married people with children at home, Laura and Alec meet every Thursday at Milford Junction. What begins as a chance encounter soon develops into something much deeper, as the pair form an emotional connection that becomes increasingly difficult to resist. Alongside their emotional turmoil is a mirrored subplot involving the bustling Myrtle, who runs the tea room, and the hapless Albert, the station master. Their flirtation is lighter and more playful, providing a welcome contrast to the central love story, with a simmering ‘will they, won’t they?’ tension of its own.
Tam Williams does an admirable job directing the piece within the rather stunning surroundings of the Grand Saloon Bar. The action takes place all around the audience in an immersive style, making excellent use of the unusual space. It is this setting, however, that also creates some issues for the production. Most notably, the bar itself presents some tricky sightlines. The central bar and its immediate surroundings are transformed into the tea room, but because of the size of the space and the relatively low seating, it isn’t always possible to see everything that is happening.
Our protagonists occupy a high table along the side of the room, but even here there are audience members seated on the same level who may struggle to see. I hope those seats are clearly identified as restricted view. Sound was also occasionally an issue, with some lines getting lost. At times I found it difficult to follow the dialogue, which is a shame, although I completely appreciate how challenging it must be to manage sound in an immersive production, particularly in a venue that was never designed specifically for immersive theatre.
The central performances from Rachel Pickup and Alaisdar Craig as Laura and Alec respectively are utterly charming and quintessentially British. It is captivating to watch as they gradually lose their grip on the polite restraint of unfamiliarity and begin to surrender to their emotions as their love blossoms. Elizabeth Elvin is simply wonderful as Myrtle — warm, bubbly and as welcoming as you would expect from someone running a station tea room. Her quips and humorous delivery also provide some much-needed relief from the tension of the central love affair.
Rounding out the cast are two outstanding performers, both musicians and both taking on multiple roles. Antony Jardine and Seren Sandham-Davies are brilliant, imbuing every character with warmth and energy while simultaneously providing musical accompaniment, embellishment and interludes — all while remaining completely in character.
Music is an integral aspect of this version of Still Life, which originally premiered at The Mill at Sonning in 2022. It is used effectively to link the different scenes and adds another layer of elegance to an already classy affair. At times, however, the musical transitions felt slightly disjointed, with the piano used for a few bars before shifting to banjo and then to vocals. Given the beautiful voices on display and the strength of the harmonies, there were moments when the music perhaps could have been allowed to breathe a little more simply.
Noël Coward is, of course, one of the greatest playwrights in history, and Still Life is a lovely piece of writing. It is understated, graceful and quintessentially British, but I found myself wishing we saw a little more of the emotional explosion beneath the surface and had more opportunity to get to know the characters. At times, the production felt a little one-note, particularly when the central relationship is capable of carrying so much more emotional weight.
This version of Still Life is undoubtedly charming and enjoyable, particularly when paired with such a delicious afternoon tea. The combination of food, theatre and the spectacular surroundings of the Grand Saloon Bar makes for a rather unique theatrical experience. I suspect that in a more suitable venue, where sightlines and sound could be better controlled, this production could work even more effectively than it already does.
Still Life is at Theatre Royal Drury Lane from 7th until 12th September 2026.
★★★
Written by Philip for Theatre and Tonic, September 2026.
