He seems to have a ball of a time as the fast-paced film goes on. Leslie Phillips is perhaps at his best in this film. One event after another leads to things spiraling out of the furrier's control, with his assistant noting "what a tangled web we weave" (an often used line in Cooney's farces) about halfway through the film. So he tries to sell the coat at a huge discount, hoping the husband will fall for it. The plot is simple as most farces start from a basic idea - a furrier wants to buy his girlfriend an expensive mink coat but is worried about her husband finding out. Unlike the two of the remaining four films to be based on a stage production, this one doesn't go to great lengths to hide its stage origins. NOT NOW DARLING is probably the best of the five films. These were DOCTOR IN TROUBLE, DON'T JUST LIE THERE, SAY SOMETHING, NOT NOW, COMRADE, Spanish FLY and this film. Leslie Phillips made a number of bedroom farces in the early to mid-1970s. Presented by the Equity Library Thea- ter, 310 Riverside Drive. Kraemer production stage manager, Lori M. The Cast NOT NOW, DARLING, by Ray Cooney and John Chapman directed by William Koch scenic design by Larry Fulton costume design by Bar- bara Blackwood lighting design by Bruce A.
As a play, it leaves much to be desired, but if you want to wish the Equity Library Theater a happy birthday, which it well deserves, you might drop by if you're up on the West Side. ''Not Now, Darling'' will run through Oct.
Richard Portnow lends bite to the show as the rather fierce husband in question.
So does Rusty Riegelman as the secretary of the stripper's husband, who plays a wide-eyed, squeaky-voiced sex object. Alynne Amkraut, as the proper bespectacled secretary, gives us sober, laughable comedy, and Jane Culley, as a married beauty who is a strip-tease artiste - and gets almost down to the bone during the show - has a good sense of the ridiculous as well as a shape. There is not a bad performance in this show by anyone. As his partner, Frederick Walters is the very essence of an aging, florid and expansive Sugar Daddy. The comedy takes place in a furrier's London salon and has to do with a dizzying number of extramarital romancing on the part of one partner who places the blame on the other partner, a straight-laced fellow, who is played by Robert Lydiard, a very funny, true comic who plays a rather dense man constantly stunned by the quick turns of plot.
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But here there is a script, and it is full of rather hackneyed comedy exchanges such as this one about a fur coat:įirst Fellow: ''Why is it going cheap?'' Second Fellow, listening intently: ''I don't hear anything.'' This is not a bad evening, however, if you want relief from the turgid sweep of real events. It is the kind of thing the Marx Brothers did so brilliantly when they seemed to throw away the script and made it into a comedy act. It is an old-fashioned farce in the style of the first half of the century, full of what press agents used to call ''hilarious hijinks'' - people running in and out of rooms, working out elaborate deceptions, non sequiturs, leering and chasing pretty girls. The new revival is, as usual in Equity Library productions, nicely mounted and amusingly performed by a good cast under the direction of William Koch, but it is easily apparent why it was short-lived on this side of the Atlantic.
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