TG's "Present Laughter": A Review

On the 9th of May, I had the privilege of attending Theatre Group’s final production of the year: Present Laughter by Noël Coward, staged at Stage@Leeds. Directed by Gabriel Curteis, with assistance from Louisa Walsh and Poppy Harris, this production was not only a triumphant way to conclude the society’s season on their largest stage, but also a heartfelt tribute to the art of theatre itself.

Set in the 1940s, Coward’s classic comedy was brought vividly to life thanks to the work of co-producers Sophie Duce and Jess Cooper, who designed a set that convincingly transported the audience into a stylish inner-city penthouse flat. The lighting design cleverly simulated the early morning light spilling through the window, enhancing the atmosphere with a subtle yet effective touch. The space was richly detailed -- strewn with books, records, and the remnants of last night’s wine -- but perhaps the most striking element to me was the collection of theatre posters adorning the walls. Many of these were from university productions that cast and crew members had worked on during their time at Leeds, serving as both a nod to the fictional Gary Essendine’s glittering career and a touching tribute to the students' own creative careers.

For several members of the team, Present Laughter marked their final university production. The show stood not only as a celebration of Coward’s wit and charm, but also as a testament to the talent, dedication, and love for theatre that has defined these students’ university experience. And what a talented ensemble Curteis created.

Becky Hughes and Harry Roberts gave standout performances as Monica Reed, Garry Essendine’s unflappable secretary, and Roland Maule, his wildly obsessive admirer. Scenes featuring O’Callaghan alongside Roberts and Hughes - each a current or former member of The Leeds Tealights - were a standout, showcasing their seamless comedic chemistry and a clear understanding of farcical rhythm. Their ensemble work was, quite simply, a masterclass in comedy. Similarly, Louis Dixon and Jake Message brought a comparable energy to the stage in their roles as the chaotic producing duo, Henry Lyppiatt and Morris Dixon.

Of course, such performances rely on a strong central figure to anchor the production, and in the role of the celebrated actor Garry Essendine, Malachy O’Callaghan was exceptional. A role typically reserved for seasoned performers, Essendine demands both theatrical flair and emotional nuance - qualities O’Callaghan displayed in abundance. That he managed to inhabit this complex character with such charisma, wit, and control while in his final year of university is nothing short of remarkable. He commanded the stage brilliantly, and was a joy to watch - especially in more vulnerable, introspective scenes, where the “real” Garry shone through. In particular, his chemistry with ex-wife Liz Essendine, portrayed brilliantly by Daisy Smither, was a joy to watch on-stage. Smither provided the perfect stillness and emotional maturity that O’Callaghan’s Garry needed, and the final scene between the two was hauntingly beautiful. The two clearly understood the unconscious need of Garry for a grounding presence in his ex-wife, and were expertly directed by Curteis.

Present Laughter was not only a triumphant end to Theatre Group’s 2024-2025 season, but a testament to the extraordinary talent and commitment of its ensemble cast and creative team. As a farewell performance for many final-year students, the production served as a heartfelt celebration of their time at Leeds - and a love letter to theatre itself.

Words by Charlotte Hunter, she/her