Fallen Angels

French Leave

Fallen Angels

by Noël Coward

Teddington Theatre Club at the Hampton Hill Theatre until 28^th February

Review by Heather Moulson

Fallen Angels was an unexplored part of the Noël Coward canon for me, so what might unfold? We were welcomed into a splendid and stylish flat in London, with intriguing alcoves and a tantalising glimpse of a room behind the door. Directed in charming detail by Mandy Stenhouse, who has an impressive background with Teddington Theatre Club, the production presented a nice use of the space and its dimensions and, with its tasteful twenties décor, opened up for us a window into 1925.

A postcard, a blast from the past, disrupts the married lives of friends Julia and Jane. As a result, we watch their composure unravel as they recall a former French lover . . . the same French lover. Their husbands off for the weekend, the women are thrown into turmoil with anticipated telephone calls and passionate memories. With intermittent and profound advice from Saunders, the new maid, played wryly by Isabelle Crean, and the use of the splendid grand piano and enchanting music and vocals, we follow their difficult journey.

The immaculate wardrobe by Mags Wrightson creates costumes that are beautifully thought-out and authentic, and compliment the detailed staging. The intimate and subtle lighting, designed by Chris Dawe, apt period sound by Jacob Taylor and well-researched props by Jacqui Grebot, all enhance the arresting period-perfect stylish set design by Wesley Henderson Roe. We are there in the roaring twenties.

Cat Lamin’s wittiness in playing Jane is a good foil to Penny Weatherall’s frantic Julia. Despite once sharing the same lover, their friendship has been solid, but will it remain so? They become united in their turmoil and tolerate a drawn-out supper, and it gives a diverting opportunity to reflect on their respective marriages. But then, when the drink really takes over, their frustrations turn into insults and Jane storms out into the night.

The third act brings the reappearance of the spouses, themselves having fallen out the night before. Willy and Fred, once filled-in on the situation are understandably, and righteously, jealous. Dominic Lloyd’s Fred has the edge with his striking and solid stage presence, whereas Alex Pearce becomes more comfortable in the role of Willy as the play progresses.

We finally meet the mysterious past lover Maurice, played by Stuart McEwan who walks on with savoir faire and Gallic charm.

This is the strong turning point of the plot. However, one thought the performances could have picked up more pace. It was very drawn-out in places.

Nevertheless, we are taken to the twenties (as they were for some), all Art Deco, cocktails and Veuve Clicquot; plus more than a sprinkling of Noël’s naughtiness.

Heather Moulson, February 2026

Photography by Steve Sitton