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flashy"; and Reg, aged eighteen, "a nice-looking intelligent boy", Reg's friend Sam, and
Queenie's friend Phyllis) alone. Sam indulges in a spot of socialist preaching against capitalism and injustice. The young women fail to accord him the respect he thinks he deserves, and he and Reg leave. Bob Mitchell's son Billy visits the house. He is left alone with Queenie, and there is a short love scene between them. Queenie baffles him by saying that she so hates suburban life that she would not make him a good wife, and rushes out. Frank enters and encourages Billy. After Billy leaves, Ethel and Frank chat together, partly to avoid Sylvia's singing in the room next door and partly for the pleasure of each other's company.
434:, commented, "both plays, though widely separated in mood and kind, are successful, the one attaining to brilliant comedy, the other creating and sustaining an interest in a family of the lower middle class which may fairly be called absorbing.... Mr Coward keeps firm control of his narrative and in his own part occasionally permits himself to speak for an England which, though tired, is still possessed of an invincible stamina."
271:" at the top of their voices, having had a few drinks to celebrate their successful strike-breaking. Sam and Reg enter, the latter slightly injured from a fracas connected with the strike. Vi confronts Sam for leading Reg astray and throws him out. Left alone together, Frank and Reg exchange views, Frank's being traditionalist and Reg's idealistic. They bid each other good night on good terms.
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Queenie tip-toes downstairs in street clothes, carrying a suitcase. She puts a letter on the mantelpiece and leaves. Frank and Bob arrive after a convivial evening at a regimental dinner and amiably discuss the world in general. Ethel, woken by their noise, tells them off. Bob leaves. Frank and Ethel
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advised Coward that he could do more for the war effort by entertaining the troops and the home front than by attempts at intelligence work: "Go and sing to them when the guns are firing – that's your job!" Though disappointed, Coward followed this advice. He toured, acted and sang indefatigably in
86:
The story of the play concerns the lower middle-class
Gibbons family between the end of World War I and the outbreak of World War II. It anticipates the non-violent ways in which social justice issues might be incorporated into post-war national reconstruction, examines the personal trauma caused by
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Frank and Ethel are about to move to the country. The house is now almost empty of furniture as they prepare to leave. Frank is left alone with his youngest grandchild, also called Frank. He talks to the baby philosophically, in a long monologue about what it means to be
British. Ethel calls him to
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After
Christmas dinner, the grown-ups (Frank and Ethel, Ethel's mother Mrs Flint, and Frank's sister Sylvia) have retired to another room to leave the young people (Frank and Ethel's children: Vi, "a pleasant nondescript-looking girl of twenty"; Queenie, "a year younger... prettier and a trifle
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thought some of the scenes too long, but added "the author's skill is shown in each one, unabated and breaking fresh ground; the play obviously moved and excited the audience, and we must admit, once again, that Mr Coward remains one of the most remarkable men of the theatre of our time."
246:. Ethel expresses her relief that her husband Frank has survived army service in World War I and her pleasure at moving into their new home. Their new next-door neighbour, Bob Mitchell, introduces himself. He turns out to be an old army colleague of Frank's, and the two reminisce.
165:(Britain's official play censor until 1968) objected to its inclusion, citing the embarrassment it would cause any member of the royal family who happened to see the play. The final dress rehearsal was held on 31 August 1939. The following day Germany invaded
327:. Her lover had left her and returned to his wife, leaving Queenie stranded. After some prevarication Billy says that Queenie is with him and indeed is now his wife. Queenie enters, and there is an awkward but loving reconciliation between her and Ethel.
267:. The women of the household bicker. Frank and Bob are strike-breaking as volunteer driver and conductor of a London bus. Reg, encouraged by Sam, is backing the strikers and has not been seen for some days. Frank and Bob enter, singing "
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see
Queenie's letter and open it. She has been having an affair with a married man and has run off with him. Ethel disowns Queenie as a member of the family. Frank is shocked at Ethel's intransigence. They retire to bed unhappily.
87:
the sudden death of sons and daughters and anticipates the forthcoming return of
English men from the war. It is also an intimate portrait of the economy and politics of Great Britain in the 1920s and 1930s (such as the
284:
On Reg's wedding day, Frank gives him paternal advice. The women of the household bicker. Queenie again complains of the tedium of suburban life. The family all leave for Reg and Phyl's wedding ceremony.
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The older members of the family discuss a letter they have received from
Queenie in France. They are interrupted by the news that Reg and his wife have been killed in a road accident.
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323:. In the intervening time, Mrs Flint has died, and Vi and Sam, now married, have become comfortably middle-aged. Billy enters with the news that he has run into Queenie in
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45:. It was written in 1939 but, because of the outbreak of World War II, it was not staged until 1942, when it was performed on alternating nights with another Coward play,
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wrote, "Mr Coward's
Clapham cavalcade is perfectly acted. It is history dramatised in the back parlour and a most moving portrait of small people living greatly.
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as Frank is bitterly opposed to it. Bob comes in to say goodbye. He is moving to the country. He and Frank reminisce and look forward to the future anxiously.
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with the
Commissariat d'Information. Coward engaged in war work in intelligence and propaganda in Europe and America for the next two years.
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on its own, but Coward insisted that, given the political situation at the time, it should be played alternately with the more sombre
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210:. But, as you see, I was a suburban boy, born and bred in the suburbs of London, which I've always loved and always will."
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Coward later said, "I have always had a reputation for high-life, earned no doubt in the twenties with such plays as
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on Coward's wartime tour of
Britain after he returned to acting. The sets and costumes were designed by
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is one of a very few Coward plays to deal entirely with domestic events outside an upper class or
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sets and telephones, home gas lights being replaced by electricity and mass broadcast radio.
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339:'s return from Munich and the false hopes of averting war. Sylvia is as delighted by the
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496:. The audio play was released on CD in 2011, part of the Classic Radio Theatre series.
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setting. A number of scenes are reminiscent of previous Coward works, such as
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to be heard on the radio by the Gibbons family in Act 3 scene 1, but the
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The Gibbons family has just moved into 17 Sycamore Road in
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713:"BBC Radio 4 Extra – Noel Coward – This Happy Breed"
480:broadcast a radio adaptation of the play, starring
430:had opened the night after the London première of
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51:. The two plays later alternated with Coward's
823:. Heinemann 1969/Penguin Books, London, 1974,
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315:The family have been listening to ex-king
193:were finally staged in September 1942 in
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638:, 13 April 2008, accessed 4 January 2009
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607:, 19 July 1954, accessed 4 January 2009
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557:: CS1 maint: archived copy as title (
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394:Vi Gibbons/Leadbitter – Molly Johnson
153:. The original script called for the
571:Coward, unnumbered introductory page
455:A 1944 film adaptation, also called
131:Coward completed the playscript for
185:Europe, Africa, Asia and America.
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172:Coward departed for Paris to meet
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289:Scene 2 – November 1931, midnight
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57:. The title, a reference to the
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16:For the film adaptation, see
1409:The Queen Was in the Parlour
1102:The Queen Was in the Parlour
385:Reg Gibbons – Billy Thatcher
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1019:The Girl Who Came to Supper
388:Queenie Gibbons/Mitchell –
376:Frank Gibbons – Noël Coward
145:originally wanted to stage
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111:(1931) or the short play
802:Noël Coward, A Biography
649:Who's Who in the Theatre
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331:Scene 2 – September 1938
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1383:The Noël Coward Diaries
690:, 20 October 1942, p. 3
688:The Manchester Guardian
632:"The Playboy was a Spy"
437:The Manchester Guardian
311:Scene 1 – December 1936
250:Scene 2 – December 1925
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18:This Happy Breed (film)
361:Mrs Flint – Gwen Floyd
280:Scene 1 – October 1931
265:General Strike of 1926
263:It is the time of the
214:, like his short play
89:General Strike of 1926
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1340:Pomp and Circumstance
669:"Haymarket Theatre",
599:"Light Entertainment"
512:"Haymarket Theatre",
135:(as well as that for
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1647:Plays by Noël Coward
1580:Waiting in the Wings
1321:The Astonished Heart
1262:Waiting in the Wings
1046:I'll Leave It to You
321:abdication broadcast
1270:Suite in Three Keys
647:"Gladys Calthrop",
347:Scene 3 – June 1939
337:Neville Chamberlain
234:Scene 1 – June 1919
61:, is a phrase from
1652:Culture of England
1367:Present Indicative
971:Conversation Piece
898:This Year of Grace
819:Morley, Sheridan.
806:Sinclair-Stevenson
702:, 1 May 1943, p. 3
673:, 1 May 1943, p. 2
636:The New York Times
580:Hoare, pp. 298–301
516:, 1 May 1943, p. 2
461:, was directed by
417:Critical reception
335:It is the time of
298:Scene 3 – May 1932
259:Scene 3 – May 1926
103:upper middle class
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1465:Design for Living
1375:Future Indefinite
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1222:Peace in Our Time
1174:Design for Living
890:On with the Dance
821:A Talent to Amuse
771:Castle, Charles.
749:Missing or empty
700:The Daily Express
444:The Daily Express
409:Billy Mitchell –
397:Sam Leadbitter –
370:Sylvia Gibbons –
182:Winston Churchill
155:abdication speech
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1596:Look After Lulu!
1588:Present Laughter
1572:Nude with Violin
1556:South Sea Bubble
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1254:Look After Lulu!
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1198:Present Laughter
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532:. Archived from
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432:Present Laughter
428:This Happy Breed
364:Ethel Gibbons –
341:Munich agreement
269:Rule, Britannia!
212:This Happy Breed
191:Present Laughter
187:This Happy Breed
163:Lord Chamberlain
151:This Happy Breed
147:Present Laughter
138:Present Laughter
133:This Happy Breed
99:This Happy Breed
48:Present Laughter
38:This Happy Breed
31:This Happy Breed
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541:. Retrieved
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482:John Moffatt
475:
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1513:Easy Virtue
1425:Easy Virtue
1394:Adaptations
1158:Post-Mortem
1094:Easy Virtue
936:Oh, Coward!
867:Noël Coward
788:Plays: Four
686:", G.A.H.,
478:BBC Radio 4
451:Adaptations
381:Gerald Case
372:Joyce Carey
317:Edward VIII
159:Edward VIII
75:Shakespeare
43:Noël Coward
1642:1939 plays
1636:Categories
1417:The Vortex
1110:Semi-Monde
1070:The Vortex
766:References
494:Doris Hare
463:David Lean
207:The Vortex
127:Background
80:Richard II
29:Coward in
1540:Cavalcade
1449:Cavalcade
1238:Quadrille
1166:Cavalcade
1142:Home Chat
1078:Hay Fever
1011:Sail Away
865:Works by
742:cite book
671:The Times
543:6 January
514:The Times
423:The Times
217:Fumed Oak
195:Blackpool
114:Fumed Oak
108:Cavalcade
67:monologue
979:Operette
955:Musicals
553:cite web
476:In 1989
352:supper.
157:of King
123:(1936).
1607:Musical
1359:Memoirs
1126:Sirocco
403:Edie –
240:Clapham
178:liaison
1618:(1964)
1599:(1967)
1591:(1967)
1583:(1965)
1575:(1964)
1567:(1962)
1559:(1956)
1551:(1956)
1543:(1955)
1524:(2020)
1516:(2008)
1508:(2000)
1500:(1967)
1492:(1952)
1484:(1942)
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1468:(1933)
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1386:(1982)
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1351:(1964)
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1193:(1936)
1185:(1934)
1177:(1932)
1169:(1931)
1161:(1930)
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1129:(1927)
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1073:(1924)
1065:(1923)
1057:(1922)
1049:(1920)
1041:(1918)
1022:(1963)
1014:(1961)
1006:(1954)
998:(1950)
990:(1946)
982:(1938)
974:(1934)
966:(1929)
947:(1972)
939:(1972)
931:(1968)
925:(1945)
917:(1939)
909:(1932)
901:(1928)
893:(1925)
885:(1923)
874:Revues
827:
812:
808:1995.
794:
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730:
325:Menton
167:Poland
1401:Films
1332:Prose
1281:Films
1030:Plays
537:(PDF)
530:(PDF)
500:Notes
306:Act 3
275:Act 2
229:Act 1
117:from
825:ISBN
810:ISBN
792:ISBN
777:ISBN
773:Noël
755:help
728:ISBN
559:link
545:2022
492:and
469:and
224:Plot
189:and
319:'s
242:in
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