Noel Coward's observations made in snappy witticisms, penetrating comments on society classes and memorable criticisms of human behaviour were reviewed by a small group of high calibre, celebrated and versatile performers, all seen in recent television or London shows, acting in dazzling 20s and 30s style.

The show was slick, following on smoothly from one number to the next, mixing song and dance, solos and ensembles, using brilliant choreography involving many aspect of mov-ement, some with nifty footwork or skilful tap dancing.

A revolving stage enabledscenes to move on and, allowing further variation, was used to interesting effect. Lighting, incorporating projections on occasions, was used imaginatively too, illuminating and spotlighting the beautifully dressed artistes.

Numbers were enacted in topical groups. Romantic love songs back-dropped by a full moon set in a darkened sky spangled with stars, included In a Boat, On a Lake, and a brilliant rendering of Mad About the Boy.

Dance Little Lady and Twent-ieth Century Blues were danced with distinction in truly contemporary manner.

Simulation of a luxury liner, found Coward in mocking vein with Why Do The Wrong People Travel? and a snappy Mad Dogs and Englishmen.

In attitude of asking, imploring and eventually demanding, Don't Put Your Daughter On The Stage was delivered emphatically and amusingly.

A serious moment occurred in When I Have Fears as Keats Had Fears and a touch of national arrogance emerged in London Pride.

Diction, so vital that it is clear in all Coward's songs, was faultless throughout the show.

Two pianos, sympathetically played provided accompaniment for this ultra-polished celebration of Noel Coward's words and music.

Jill Hopkins