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• W289595354 abstract "When Virginia Woolf first met Coward at one of Sybil Colefax's famous social gatherings in 1928, she was thoroughly charmed: she praised him as miracle, a prodigy and, after seeing his hit revue, This Year of Grace, wrote a letter enthusiastically encouraging him to try his hand at novels that would put these cautious, creeping novels that one has to read silently in an arm chair deep, deep in shade (Letters 3: 478). By 1934, she was referring to him in her letters as Noel Coward whose works I despise (Letters 5: 273) and dismissing his gifts in her diary as all out of 6d box at Woolworth's. . . . Nothing there: but heroic beating (Diary 4: 259). By 1936, he had become a reason for her disenchantment with Sybil Colefax's parties: But at last, what with Coward on my left and Sir Arthur [Colefax] on my right, I felt I could no longer bring myself to dine with Sibyl (Am I a Snob?). Woolf's change of heart reflects a broader shift in Coward's reputation within intellectual and artistic circles in Britain in late twenties and early thirties-not coincidentally, same period that divisive battle of brows was taking place on BBC and in literary periodicals and presses.Right at peak of this battle of brows, Coward wrote and produced Cavalcade, a lavish pageant of British history from Boer War to present day, for largest theatre in London's West End, Drury Lane. Popular audiences gave production enthusiastic stand- ing ovations and kept it running for over 400 performances while many theatre critics lavished it with paeans of praise (Coward, Autobiography 239). A few dissenters, however, criticized play and expressed grave concern about Coward's politically and emotionally manipulative effect on an unthinking, largely middle-class audience. The divided reception of Cavalcade indicates extent to which theatre criticism both participated in and was affected by battle of brows and resulting tensions between so-called highbrow writers associated with Bloomsbury and modernist aesthetic and middlebrow writers whose artistic commitments were, according to Woolf in her essay penned in heat of these debates, mixed indistinguishably, and rather nastily, with money, fame, power, or prestige (Middlebrow 80).1 By time Cavalcade opened in October 1931, the cultural debate had hardened into form of antithetical camps, each 'brow' convinced of [its] superiority (Cuddy-Keane 19). Coward's own description of response to Cavalcade hints at role these increas- ingly entrenched cultural divisions played in its reception: [A] few uneasy highbrows . . . deplored my fall from sophisticated wit into bathos of jingoism, and had even gone so far as to suggest whole thing was a wily commercial trick . . . but these small were drowned out by trumpetings of praise (Introduction ix). Furthermore, pro- duction coincided with economic and political crisis that produced an unprecedented Conservative landslide in election of 27 October 1931, two weeks after Cavalcade opened (Cole 143). These external cultural and political tensions played a crucial role in play's initial reception, resulting in a distorted critical response that had a lasting effect on Coward's reputation. Critics used their responses to production to take sides in these contemporary debates, often by eliding play's ambiguity and by magnifying those features that would help them to position themselves. Such distortions are not uncommon in creating cultural divisions and classifications. Although, as Coward indicates, general trumpetings of praise temporarily drowned out shrill small voices of his detractors, divisive response to Cavalcade significantly damaged Coward's reputa- tion with highbrow writers and intellectuals for decades and contributed to his critical neglect in second half of twentieth century. …" @default.
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• W289595354 date "2013-01-01" @default.
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• W289595354 title "Shrill Small Voices . . . Drowned out by the General Trumpetings of Praise: The Reception of Noël Coward's Cavalcade" @default.
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