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 The Methuen Drama Modern Plays series has always been
at forefront of modern playwriting. Since 1959, the series has
the reflected the most exciting developments in modern drama,
making the most significant plays widely available in paperback.

The Vortex
Noél Coward was born in 1899 in Teddington, Middle-
sex. He made his name as a playwright with The Vortex
(1924), in which he also appeared. His numerous other
successful plays included Fallen Angels (1925), Hay Fever
(1925), Private Lives (1933), Design for Living (1933), and Blithe
Spirit (1941). During the war he wrote screenplays such as
Brief Encounter (1944) and This Happy Breed (1942). In the
fifties he began a new career as a cabaret entertainer. He
published volumes of verse and a novel, Pomp and Circum-
stance (1960), two volumes of autobiography and four
volumes of short stories: Jo Step Aside (1939), Star Quality
(1951), Pretty Polly Barlow (1964) and Bon Voyage (1967). He
was knighted in 1970 and died three years later in Jamaica.
NOEL COWARD

The Vortex

Methuen Drama
 Published by Methuen Drama
3579108642
First published in 1925 by Emest Benn as Contemporary British Dramatists
Volume 19 and republished by Heinemann in 1934 in Play Parade Vol |. It was
published in Noél Coward Plays: 1 by Eyre Methuen Ltd in 1979,

Copyright in the play is by the Estate of Noél Coward.

The introduction and chronology were first published in Coward Plays: One
Introduction copyright © 1989, 1999 by Sheridan Morley
Chronology copyright © 1987, 1999 Jacqui Russell
The right of the author to be identified as the author of the work has been asserted by
them in accordance with the Copyright, Designs and Patents Act, 1988.

A CIP catalogue record for this book

is available from the British Library.
ISBN 0 413 77309 4
Typeset by Deltatype Ltd, Birkenhead, Merseyside
Printed and bound in Great Britain by
Cox & Wyman Ltd, Reading, Berkshire
Caution
These plays are fully protected by copyright throughout the world. All applications for
performance, etc., should be made by professionals to Alan Brodie
Representation Ltd, 211 Piccadilly, London WIJ 9HF and by amateurs to
Samuel French Ltd, 52 Fitzroy Street, London WIP 6jR.
This book is sold subject to the condition that it shall not,
by way of trade or otherwise, be lent, resold, hired out, or otherwise
circulated in any form of binding or cover other than that in
which it is published and without a similar condition being
imposed on the subsequent purchaser.
 CHRONOLOGY

1899 16 December, Noél Pierce Coward born in Teddington,

Middlesex, eldest surviving son of Arthur Coward, piano
salesman and Violet (née Veitch). A ‘brazen, odious little
prodigy’, his early circumstances were of refined suburban
poverty.
1907 First public appearances in school and community concerts.
1908 Family moved to Battersea and took in lodgers.
IQII First professional appearance as Prince Mussel in The Goldfish,
produced by Lila Field at the Little Theatre, and revived in same
year at Crystal Palace and Royal Court Theatre. Cannard, the
page-boy, in The Great Name at the Prince of Wales Theatre, and
William in Where the Rainbow Ends with Charles Hawtrey’s
Company at the Savoy Theatre.
1912 Directed The Daisy Chain and stage-managed The Prince’s Bride at
Savoy in series of matinees featuring the work of the children of
the Rainbow cast. Mushroom in An Autumn Idyll, ballet, Savoy.
1913 An angel (Gertrude Lawrence was another) in Basil Dean’s
production of Hannele. Slightly in Peter Pan, Duke of York's.
1914 Toured in Peter Pan. Collaborated with fellow performer Esmé
Wynne on songs, sketches, and short stories ~ ‘beastly little
whimsies’.
1915 Admitted to sanatorium for tuberculosis.
1916 Five-month tour as Charley in Charley’s Aunt. Walk-on in The
Best of Luck, Drury Lane. Wrote first full-length song, ‘Forbid-
den Fruit’. Basil Pycroft in The Light Blues, produced by Robert
Courtmeidge, with daughter Cicely also in cast, Shaftesbury.
Short spell as dancer at Elysée Restaurant (subsequently the
Café de Paris). Jack Morrison in The Happy Family, Prince of
Wales.
1917 ‘Boy pushing barrow’ in D.W. Griffith’s film Hearts of the World.
Co-author with Esmé Wynne of one-acter Ida Collaborates,
Theatre Royal, Aldershot. Ripley Guildford in The Saving Grace,
with Charles Hawtrey, ‘who ... taught me many points of

Vv
 CHRONOLOGY

comedy acting’, Garrick. Family moved to Pimlico and re-

opened boarding house.
1918 Called-up for army. Medical discharge after nine months. Wrote
unpublished novels Cats and Dogs (loosely based on Shaw’s You
Never Can Tell) and the unfinished Cherry Pan (‘dealing in a
whimsical vein with the adventures of a daughter of Pan’), and
lyrics for Darewski and Joel, including “When You Come Home
on Leave’ and ‘Peter Pan’. Also composed “Tamarisk Town’.
Sold short stories to magazines. Wrote plays The Rat Trap, The
Last Trick (unproduced) and The Impossible Wife (unproduced).
Courtenay Borner in Scandal, Strand. Woman and Whiskey (co-
author Esmé Wynne) produced at Wimbledon Theatre.
T9I9 Ralph in The Knight of the Burning Pestle, Birmingham Repertory,
played with ‘a stubborn Mayfair distinction’ demonstrating a
‘total lack of understanding of the play’. Collaborated on Crissa,
an opera, with Esmé Wynne and Max Darwski (unproduced).
Wrote I'll Leave It to You.
1920 Bobbie Dermott in I'll Leave It to You, New Theatre. Wrote play
Barriers Down (unproduced). I'll Leave It to You published,
London.
192 On holiday in Alassio, met Gladys Calthrop for the first time.
Clay Collins in American farce Polly with a Past: during the run
‘songs, sketches, and plays were bursting out of me’. Wrote
The Young Idea, Sirocco, and The Better Half. First visit to New
York, and sold parts of A Withered Nosegay to Vanity Fair and
short-story adaptation of I'll Leave It to You to Metropolitan.
House-guest of Laurette Taylor and Hartley Manners, whose
family rows inspired the Bliss household in Hay Fever.
1922 Bottles and Bones (sketch) produced in benefit for Newspaper
Press Fund, Drury Lane. The Better Half produced in ‘grand
guignol’ season, Little Theatre. Started work on songs and
sketches for London Calling! Adapted Louise Verneuil’s Pour avoir
Adrienne (unproduced). Wrote The Queen Was in the Parlour and
Mild Oats.
1923 Sholto Brent in The Young Idea, Savoy. Juvenile lead in London
Calling! Wrote Weatherwise, Fallen Angels, and The Vortex.
1924 Wrote Hay Fever (which Marie Tempest at first refused to do,
feeling it was ‘too light and plotless and generally lacking in
action’) and Easy Virtue. Nicky Lancaster in The Vortex,
produced at Everyman by Norman MacDermott.
1925 Established as a social and theatrical celebrity. Wrote On with
the Dance with London opening in spring followed by Fallen

vi
 CHRONOLOGY

Angels and Hay Fever. Hay Fever and Easy Virtue produced, New
York. Wrote silent screen titles for Gainsborough Films.
1926 Toured USA in The Vortex. Wrote This Was a Man, refused a
licence by Lord Chamberlain but produced in New York (1926),
Berlin (1927), and Paris (1928). Easy Virtue, The Queen Was in the
Parlour, and The Rat Trap produced, London. Played Lewis
Dodd in The Constant Nymph, directed by Basil Dean. Wrote
Semi-Monde and The Marquise. Bought Goldenhurst Farm, Kent,
as country home. Sailed for Hong Kong on holiday but trip
broken in Honolulu by nervous breakdown.
1927 The Marquise opened in London while Coward was still in
Hawaii, and The Marquise and Fallen Angels produced, New
York. Finished writing Home Chat. Sirocco revised after discus-
sions with Basil Dean and produced, London.
1928 Clark Storey in Behrman’s The Second Man, directed by Dean.
Gainsborough Films productions of The Queen Was in the
Parlour, The Vortex (starring Ivor Novello), and Easy Virtue
(directed by Alfred Hitchcock) released — but only the latter,
freely adapted, a success. This Year of Grace! produced, London,
and with Coward directing and in cast, New York. Made first
recording, featuring numbers from this show. Wrote Concerto
for Gainsborough Films, intended for Ivor Novello, but never
produced. Started writing Bitter-Sweet.
1929 Played in This Year of Grace! (USA) until spring. Directed Bitter-
Sweet, London and New York. Set off on travelling holiday in
Far East.
1930 On travels wrote Private Lives (1929) and song ‘Mad Dogs and
Englishmen’, the latter on the road from Hanoi to Saigon. In
Singapore joined the Quaints, company of strolling English
players, as Stanhope for three performances of Journey's End. On
voyage home wrote Post-Mortem, which was ‘similar to my
performance as Stanhope: confused, under-rehearsed and hys-
terical’. Directed and played Elyot Chase in Private Lives,
London, and Fred in Some Other Private Lives. Started writing
Cavalcade and unfinished novel Julian Kane.
1931 Elyot Chase in New York production of Private Lives. Directed
Cavalcade, London. Film of Private Lives produced by MGM. Set
off on trip to South America.
1932 On travels wrote Design for Living (hearing that Alfred Lung and
Lynn Fontanne finally free to work with him) and material for
new revue including songs ‘Mad about the Boy’, ‘Children of
the Ritz’ and ‘The Party’s Over Now’. Produced in London as

vii
 CHRONOLOGY

Words and Music, with book, music, and lyrics exclusively by

Coward and directed by him. The short-lived Noél Coward
Company, independent company which enjoyed his support,
toured UK with Private Lives, Hay Fever, Fallen Angels, and The
Vortex.
1933 Directed Design for Living, New York, and played Leo. Films of
Cavalcade, To-Night Is Ours (remake of The Queen Was in the
Parlour), and Bitter-Sweet released. Directed London revival of
Hay Fever. Wrote Conversation Piece as vehicle for Yvonne
Printemps, and hit song “Mrs Worthington’.
1934 Directed Conversation Piece in London and played Paul. Cut links
with C. B, Cochran and formed own management in partner-
ship with John C. Wilson. Appointed President of the Actors’
Orphanage, in which he invested great personal commitment
until resignation in 1956. Directed Kaufman and Ferber’s Theatre
Royal, Lyric, and Behrman’s Biography, Globe. Film of Design for
Living released, London. Conversation Piece opened, New York.
Started writing autobiography, Present Indicative. Wrote Point
Valaine,
1935 Directed Point Valaine, New York. Played lead in film The
Scoundrel (Astoria Studios, New York). Wrote To-Night at 8.30.
1936 Directed and played in To-Night at 8.30, London and New York
Directed Mademoiselle by Jacques Deval, Wyndham’s.
1937 Played in To-Night at 8.30, New York, until second breakdown in
health in March. Directed (and subsequently disowned) Gerald
Savory’s George and Margaret, New York. Wrote Operette, with
hit song “The Stately Homes of England’. Present Indicative
published, London and New York.
1938 Directed Operette, London. Words and Music revised for Ameri-
can production as Set to Music. Appointed adviser to newly-
formed Royal Naval Film Corporation.
1939 Directed New York production of Set to Music. Visited Soviet
Union and Scandinavia. Wrote Present Laughter and This Happy
Breed: rehearsals stopped by declaration of war. Wrote for revue
All Clear, London. Appointed to head Bureau of Propaganda in
Paris, to liaise with French Ministry ‘of Information, headed by
Jean Giraudoux and André Maurois. This posting prompted
speculative attacks in the press, prevented by wartime secrecy
from getting a clear statement of the exact nature of his work
(in fact unexceptional and routine). Troop concert in Arras with
Maurice Chevalier. To Step Aside (short story collection)
published.
 CHRONOLOGY

1940 ingly ‘oppressed and irritated by the Paris routine’. Visits

USA to report on American isolationism and attitudes to war in
Europe. Return to Paris prevented by German invasion.
Retumed to USA to do propaganda work for Ministry of
Information. Propaganda tour of Australia and New Zealand,
and fund-raising for war charities. Wrote play Time Remembered
(unproduced).
1o4t Mounting press attacks in England because of time spent
allegedly avoiding danger and discomfort of Home Front.
Wrote Blithe Spirit, produced in London (with Coward direct-
ing) and New York. MGM film of Bitter-Sweet (which Coward
found ‘vulgar’ and ‘lacking in taste’) released, London. Wrote
screenplay for In Which We Serve, based on the sinking of HMS
Kelly. Wrote songs including ‘London Pride’, ‘Could You
Please Oblige Us with a Bren Gun?’, and ‘Imagine the
Duchess’s Feelings’.
1942 Produced and co-directed (with David Lean) In Which We Serve,
and appeared as Captain Kinross (Coward considered the film
‘an accurate and sincere tribute to the Royal Navy’). Played in
countrywide tour of Blithe Spirit, Present Laughter, and This
Happy Breed, and gave hospital and factory concerts. MGM film
of We Were Dancing released.
1943 Played Garry Essendine in London production of Present
Laughter and Frank Gibbons in This Happy Breed. Produced This
Happy Breed for Two Cities Films. Wrote ‘Don't Let's Be
Beastly to the Germans’, first sung on BBC Radio (then banned
on grounds of lines ‘that Goebbels might twist’). Four-month
tour of Middle East to entertain troops.
1944 February-September, toured South Africa, Burma, India, and
Ceylon. Troop concerts in France and ‘Stage Door Canteen
Concert’ in London. Screenplay of Still Life, as Brief Encounter.
Middle East Diary, an account of his 1943 tour, published,
London and New York - where a reference to ‘mournful little
boys from Brooklyn’ inspired formation of a lobby for the
‘Prevention of Noéi Coward Re-entering America’.
1945 Sigh No More, with hit song “Matelot’, completed and produced,
London. Started work on Pacific 1860. Film of Brief Encounter
released.
1946 Started writing ‘Peace in Our Time’. Directed Pacific 1860,
London.
1947 Gary Essendine in London revival of Present Laughter.
Super-
vised production of ‘Peace in Our Time’. Point Valaine produced,

ix
 CHRONOLOGY

London. Directed American revival of To-Night at 8.30. Wrote

Long Island Sound (unproduced).
1948 Replaced Graham Payn briefly in American tour of To-Night at
8.30, his last stage appearance with Gertrude Lawrence. Wrote
screenplay for Gainsborough film of The Astonished Heart. Max
Aramont in Joyeux Chagrins (French production of Present
Laughter). Built house at Blue Harbour, Jamaica.
1949 Christian Faber in film of The Astonished Heart. Wrote Ace of
Clubs and Home and Colonial (produced as Island Fling in USA
and South Sea Bubble in UK).
1950 Directed Ace of Clubs, London. Wrote Star Quality (short stories)
and Relative Values.
1951 Deaths of Ivor Novello and C. B. Cochran. Paintings included in
charity exhibition in London. Wrote Quadrille. One-night
concert at Theatre Royal, Brighton, followed by season at Café
de Paris, London, and beginning of new career as leading
cabaret entertainer. Directed Relative Values, London, which
restored his reputation as a playwright after run of post-war
flops, Island Fling produced, USA.
IQ52. Charity cabaret with Mary Martin at Café de Paris for Actors’
Orphanage. June cabaret season at Café de Paris. Directed
Quadrille, London. ‘Red Peppers’, Fumed Oak, and Ways and
Means (from To-Night at 8.30) filmed as Meet Me To-Night.
September, death of Gertrude Lawrence: ‘no one I have ever
known, however brilliant ... has contributed quite what she
contributed to my work’.
1953 Completed second volume of autobiography, Future Indefinite.
King Magnus in Shaw’s The Apple Cart. Cabaret at Café de Paris,
again ‘a triumphant success’. Wrote After the Ball.
1954 After the Ball produced, UK. July, mother died. September,
cabaret season at Café de Paris. November, Royal Command
Performance, Lor‘on Palladium. Wrote Nude With Violin.
1955 June, opened in cabaret for season at Desert Inn, Las Vegas, and
enjoyed ‘one of the most sensational successes of my career’.
Played Hesketh-Baggott in film of Around the World in Eighty
Days, for which he wrote own dialogue. October, directed and
appeared with Mary Martin in TV spectacular Together with
Music for CBS, New York. Revised South Sea Bubble.
1956 Charles Condomine in television production of Blithe Spirit, for
CBS, Hollywood. For tax reasons took up Bermuda residency.
Resigned from presidency of the Actors’ Orphanage. South Sea

x
 CHRONOLOGY

Bubble produced, London. Directed and played part of Frank

Gibbons in television production of This Happy Breed for CBS,
New York. Co-directed Nude With Violin with John Gielgud
(Bire and UK), opening to press attacks on Coward's decision to
live abroad. Wrote play Volcano (unproduced).
1957 Directed and played Sebastien in Nude With Violin, New York.
Nude With Violin published, London.
1958 Played Gary Essendine in Present Laughter alternating with Nude
With Violin on US West Coast tour. Wrote ballet London
Morning for London Festival Ballet. Wrote Look After Lulu!
1959 Look After Lulu! produced, New York, and by English Stage
Company at Royal Court, London. Film roles of Hawthorne in
Our Man in Havana and ex-King of Anatolia in Surprise Package.
London Moming produced by London Festival Ballet. Sold home
in Bermuda and took up Swiss residency. Wrote Waiting in the
Wings.
1960 Waiting in the Wings produced, Eire and UK. Pomp and
Circumstance (novel) published, London and New York.
1961 Alec Harvey in television production of Brief Encounter for NBC,
USA. Directed American production of Sail Away. Waiting in the
Wings published, New York.
1962 Wrote music and lyrics for The Girl Who Came to Supper
(adaptation of Rattigan’s The Sleeping Prince, previously filmed as
The Prince and the Showgirl). Sail Away produced, UK.
1963 The Girl Who Came to Supper produced, USA. Revival of Private
Lives at Hampstead signals renewal of interest in his work.
1964 ‘Supervised’ production of High Spirits, musical adaptation of
Blithe Spirit, Savoy. Introduced Granada TV’s ‘A Choice of
Coward’ series, which included Present Laughter, Blithe Spirit,
The Vortex, and Design for Living. Directed Hay Fever for National
Theatre, first living playwright to direct his own work there.
Pretty Polly Barlow (short story collection) published.
1965 Played the landlord in film, Bunny Lake is Missing. Wrote Suite in
Three Keys. Badly weakened by attack of amoebic dysentry
contracted in Seychelles.
1966 Played in Suite in Three Keys, London, which taxed his health
further. Started adapting his short story Star Quality for the
stage.
1967 Caesar in TV musical version of Androcles and the Lion (score by
Richard Rodgers), New York. Witch of Capri in film Boom,
adaptation of Tennessee Williams's play The Milk Train Doesn’t

xi
 CHRONOLOGY

Stop Here Any More. Lorn Loraine, Coward’s manager, and

friend for many years, died, London. Worked on new volume
of autobiography, Past Conditional. Bon Voyage (short story
collection) published.
1968 Played Mr Bridger, the criminal mastermind, in The Italian Job.
1970 Awarded knighthood in New Year’s Honours List.
1971 Tony Award, USA, for Distinguished Achievement in the
Theatre.
26 March, died peacefully at his home in Blue Harbour, Jamaica.
Buried on Firefly Hill.
 INTRODUCTION

The origins of The Vortex, as Noél Coward later explained, lay in

a chance meeting in 1923:
A friend of mine was a guards officer who had a problem
mother, a lady whose lovers were men of her son’s age. One
evening I was in a supper club, the Garrick Galleries I think,
with my friend when his mother walked in. ‘Look over there’
someone said, ‘at that old hag with the good-looking young
man in tow!’ I tried to imagine what her son must have been
thinking, and the incident gave me the idea for The Vortex.
The play made what was then for Coward the usual unsuccessful
round of managers’ offices until, in 1924, Norman MacDermott
took it for his Everyman Theatre in Hampstead, once a drill hall,
then a playhouse and now a cinema, but dedicated at that time to
the off-West End discovery of new plays and playwrights. A near-
melodrama which reaches its climax in a latterday adaptation of
the closet scene from Hamlet, with an uneasy mother-son
relationship further complicated by the fact that the son takes
drugs and that the whole crisis erupts during a stately weekend in
the country, The Vortex was, for its time, a very strong play
indeed and attracted the tabloid label ‘dustbin drama’ exactly 50
years before anyone thought of applying it to John Osborne and
Look Back in Anger.
But the story of its first production has most of the qualities of
those backstage sagas perpetrated by Hollywood in the 1930s: the
theatre itself was on the verge of bankruptcy, and only saved by
Noél himself persuading the novelist Michael Arlen to make
them a gift of £250. Then the original leading lady, Kate Cutler,
announced a week away from the first night that the part of the
mother (though written by Noél with her in mind) was in fact
unsuitable and that she would be leaving the cast.
In some desperation, Coward approached Lilian Braithwaite, a
 INTRODUCTION

tall, dark grande dame of the theatre accustomed to presiding

over graceful tea-party scenes in light comedies at the Hay-
market. Seeing the challenge of a totally different and vastly more
neurotic role, she agreed at once to step into the breach, only
then to find the Lord Chamberlain threatening to deny the play a
licence for performance since its theme was ‘far too unpleasant’,
though whether this referred to the mother’s nymphomania, the
son’s drug-addiction or his passionate devotion to his mother
remained unclear. In the event, on the morning of the first night,
Noél (who was himself playing the son and co-directing with
MacDermott) repaired to St James’s Palace and convinced the
Lord Chamberlain that so far from being unpleasant, his play was
in fact a moral tract of the highest order about the evils of drugs.
Beyond doubt, the play came as a severe shock to its
Hampstead audience: here, from a writer of hitherto minor light
.comedies, was a play about drug-addiction at a time when
alcoholism was still barely mentioned on the stage, and the
reviews were both impressed and stunned as Noél recalled:
‘Practically all of my notices for this play were generously
adulatory, though most of them were concerned that I should
choose such an “unpleasant” subject and such “decadent” types. I
have come to the conclusion that an “unpleasant” subject is
something that everybody knows about, but shrinks from the
belief that other people know about it too ... The minor
characters in The Vortex drink cocktails, employ superlatives, and
sometimes turn on the gramophone ... Florence takes lovers
occasionally and Nicky takes drugs very occasionally ... I
consider neither of these vices are any more unpleasant than
murder or seduction, both of which have been a standing
tradition in the English theatre for many years.’
Yet, in fact, the first night had been nothing short of a triumph
for Noél, who as author, star and co-director had still been forced
to spend most of the afternoon on his hands and knees with his
designer Gladys Calthrop and the Hampstead stage manager
finishing off the set; he then got away with a nerve-strung,
histrionic tour de force that in later weeks he was able to refine and
discipline into a more subdued but perhaps no more effective
reading of the part. Until then, by virtue of being his own

xiv
 INTRODUCTION

director, he had not found time to do much about his acting, but
the tension of his performance on opening night was increased by
the fact that in sweeping a collection of bottles from a dressing-
room table in the last act he managed to cut his wrist quite badly,
which then bled effectively throughout his curtain speech. Blood,
like children and dogs, can usually be relied on as an applause-
raiser, though on this occasion the play would unquestionably
have survived without it.
A fashionable audience led by the Mountbattens and what The
Tatler called ‘all the regular theatrical enthusiasts of le beau monde’
made the then unusual trek to Hampstead on the strength of
Noél’s light-comedy reputation, and their reaction was much akin
to that which greeted Osborne at the Court half a century later:
now, and in cold print, Nicky’s outburst against his mother and
the depraved world around her may seem a little over the top:
but on stage in 1924, without even a backward glance at Pinero,
there’s no doubt that it came over as very startling indeed. ‘IfI
had written that,’ said Michael Arlen going backstage after the
opening, ‘I should have been so very proud.’
Most critics acknowledged a kind of fashionable depravity in
Nicky’s drug-taking and the social gossip about the weekend
house-party set to whose private lives it was widely believed that
Noél already belonged: but it was left to St John Ervine among
the original reviewers to realise that on the contrary The Vortex is
a highly moral tract, dedicated to the virtues of old-fashioned
hard work and clean living, and to standards by which most of
the characters are tried and found wanting. Like so much of
Coward's later work, right through Post Mortem to his last Suite in
Three Keys, The Vortex is concerned with standards — with what is
done and not done in the best moral code of values. One is made
constantly aware here of the dignities of life and of how these are
being abused: ‘It doesn’t matter about death’, Nicky tells his
mother at the end of Act Three, ‘but it matters terribly about life’
and, by implication, the way we choose to live it.
Reviews that were simultaneously shocked and enthusiastic,
plus a public titillated by the murmur of something faintly
immoral, assured for The Vortex a sold-out Hampstead season and
a rapid transfer to the West End: the feeling was that the boy

xV
 INTRODUCTION

wonder, ‘destiny’s tot’ as Woollcott was later to call him, had

come up with something solid and lasting which would ensure
him [Link] a dramatist rather more powerfully than the brittle
and precarious social hits that had gone before. Bight managers
put in bids for the transfer, and the one that won opened it at the
Royalty in December 1924 at the start of a run lasting more than
two hundred performances there and at other West End homes.
Superficially, the resemblance between Noél and Nicky Lancas-
ter was too great for him ever to escape the ‘well groomed, witty
and decadent’ label of the neurotic misfit that he had created for
his play, but to have argued with all that publicity would have
been futile and Noél was astute enough to realise that gossip
columnists might find the truth about his hard-working, puritan
ethic a lot less exciting. At a time when the advertising industry
was still in its infancy, The Vortex was an early example of the
‘image becoming the reality, and on Coward’s home life its effect
was electric:
With this success came many pleasurable trappings. A car.
New suits. Silk shirts. An extravagant amount of pyjamas and
dressing gowns, and a still more extravagant amount of
publicity. 1 was photographed, and interviewed, and photo-
graphed again. In the street. In the park. In my dressing room.
At my piano. With my dear old mother, without my dear old
mother and on one occasion sitting up in an over-elaborate
bed looking like a heavily doped Chinese Illusionist. This last
photograph, I believe, did me a good deal of harm. People
glancing at it concluded at once, and with a certain justifica-
tion, that I was undoubtedly a weedy sensualist in the last
stages of physical and moral disintegration, and that they had
better hurry off to see me in my play before my inevitable
demise placed that faintly macabre pleasure beyond their
reach. This attitude, while temporarily very good for business,
became irritating after a time and for many years I was seldom
mentioned in the press without allusions to ‘cocktails’,
‘postwar hysteria’ and ‘decadence.’
The Royalty opening of The Vortex was on Noél’s 25th birthday,
and he made a restrained curtain speech hoping that the West

xvi
 INTRODUCTION

End would enjoy the play as much as had audiences up in

Hampstead. This they did, though the Daily Mail was still writing
of ‘a dustbin of a play’, and Agate after a good deal of praise
ended his Sunday Times review ‘the third act is too long, there is
too much piano playing in the second, and ladies do not exhale
cigarette smoke through their noses’. Still, the majority view was
that of Ivor Brown who wrote that ‘as actor and author Coward
drives at reality’.
The play then became something of a cause célébre when Sir
Gerald du Maurier, at that time the effective leader of the acting
profession in Britain, wrote a scathing attack on the immorality
of modern drama in general and The Vortex in particular. Coward
was immediately defended in print by Arnold Bennett and
Edward Knoblock, but by now there was little doubt that the play
had dragged the London theatre from Edwardian gentility or
Barriesque whimsy towards the acid cynicism of social commen-
tary for the first time since Wilde. Hannen Swaffer still
deprecated ‘the most decadent play of our time’ while another
critic noted ruefully that ‘the fault, dear Noél, lies not in our Ma's
but in ourselves that we are slaves to dope’.
The Vortex was, beyond all others, the play which typified the
less attractive social characteristics of London and the mid-20’s: it
also achieved a footnote in theatre history as the first major
production in which the cast took curtain calls only at the end of
the play and not between each act as hitherto. Eventually Noél
was to take his drama on to Broadway and a long American tour.
(‘success took me to her bosom like a maternal boa constrictor’)
and in 1927 it was made into a silent film by Ivor Novello and
Frances Doble, while Dirk Bogarde starred in a major 1952 stage '
revival. In 1989 Philip Prowse, as director and designer, brought
a highly acclaimed revival starring Maria Aitken and Rupert
Everett into the West End from the Citizens Theatre in Glasgow.
Michael Grandage’s production at the Donmar Warehouse in
2002 starred Chiwetel Ejiofor as Nicky and Francesca Annis as
Florence Lancaster.

Sheridan Morley
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THE VORTEX
 Characters

The Vortex was first presented by Norman Macdermott at the

Everyman Theatre, Hampstead, London, 25 November 1924.
The cast was as follows:

PRESTON CLAIRE KEEP

HELEN SAVILLE MARY ROBSON
PAUNCEFORT QUENTIN F, KINSEY PEILE
CLARA HIBBERT MILLIE SIM
FLORENCE LANCASTER LILIAN BRAITHWAITE
TOM VERYAN ALAN HOLLIS
NICKY LANCASTER NOEL COWARD
DAVID LANCASTER BROMLEY DAVENPORT
‘BUNTY MAINWARING MOLLY KERR
BRUCE FAIRLIGHT IVOR BARNARD
Director NOEL COWARD
Designer G.B. CALTHROP
Costumes WILLIAM CHAPPELL

The play was revived at the Donmar Warehouse opening on

10 December 2002 with the following cast:

PRESTON TONI KANAL

HELEN SAVILLE DEBORAH FINDLAY
PAUNCEFORT QUENTIN BETTE BOURNE
CLARA HIBBERT NINA SOSANYA
FLORENCE LANCASTER FRANCESCA ANNIS
TOM VERYAN MARK UMBBRS
NICKY LANCASTER CHIWETEL BJIOFOR
DAVID LANCASTER MICHAEL HADLEY
BUNTY MAINWARING INDIRA VARMA
BRUCE FAIRLIGHT DANIEL WEYMAN

Director MICHAEL GRANDAGE

Designer CHRISTOPHER ORAM
 ACT I

The scene is the drawing-room of MRS LANCASTER’S flat in

London. The colours and decoration are on the verge of being
original. The furniture is simple but distinctly expensive.
Persons shown are HELEN SAVILLE and PAUNCEFORT
QUENTIN. HELEN SAVILLE and PAUNCBFORT QUENTIN Gre
shown in by PRESTON. HELEN is a smartly dressed woman of
about thirty. ‘PAwNix’ is an elderly maiden gentleman.

PRESTON: I'm expecting Mrs Lancaster in at any moment now,

ma’am.
HELEN: Thank you, Preston, we'll wait a little.
PRESTON: Shall I get you some tea?
HELEN: No thanks, we've already had some - give me a
cigarette, Pawnie, they're in that box on the table.
PAWNIE hands her cigarette box. PRESTON goes out.
PAWNIE: It may be tiresome of me, but I think all this colouring
is oppressive. ;
HELEN: You make such a ‘Fetish’ of house decoration, Pawnie.
PAWNIE (wandering round the room): Not at all, but I do like things
to be good and right.
HELEN: Well, I don’t consider the new frieze in your bathroom
either good or right.
PAWNIE: How can you, Helen! It’s too marvellous for words.
Parelli designed it specially for me.
HELEN: Personally, it would make me self-conscious to sit in a
bath surrounded by frisky gods and goddesses all with such
better figures than mine.
PAWNIE: I find it encouraging. This whole room is so typical of
Florence.
HELEN: In what way?
PAWNIE: Every way. Look at the furniture.
HELEN: A little artificial perhaps, but quite harmless.

3
ACT I THE VORTEX

PAWNIE: Dear Helen, you're such a loyal friend.

HELEN: I'm very fond of Florence.
PAWNIE: We all are. Oh, my God, look at that lamp-shade!
HELEN: I gave it to her last Christmas.
PAWNIE: Wasn’t that a little naughty of you?
HELEN: | don’t see why, it’s extremely pretty.
PAWNIE: Too unrestrained. Such a bad example for the servants.
(He takes up frame from desk.) Who's this boy?
HELEN: Tom Veryan. You must have seen him.
PAWNIE: Florence’s past, present or future?
HELEN: Present. s
PAWNIE: He has that innocent look that never fails to attract
elderly women.
HELEN: Don't bea cat.
PAWNIE: I wasn’t meaning Florence, she’s too divine to be in any
marked category.
HELEN: I wonder.
PAWNIE: Oh, yes, Helen, deathless sort of magnetism, you
know.
HELEN: I often wonder what will happen to Florence eventually.
PAWNIE: My dear, I'm far too occupied in wondering what's
going to happen to me to worry about other people.
HELEN: I've always thought your course was quite clear, Pawnie.
PAWNIE: However offensive that remark was intended to be,
Helen, | shall take it in the most complimentary spirit.
HELEN: I’m sure you will.
PAWNIE: I expect Florence will just go on and on, then suddenly
become quite beautifully old, and go on and on still more.
HELEN: It’s too late now for her to become beautifully old, I’m
afraid. She’ll have to be young indefinitely.
PAWNIE: I don’t suppose she'll mind that, but it’s trying for
David.
HELEN: And fiendish for Nicky.
PAWNIE: Oh, no, my dear, you're quite wrong there. I’m sure
Nicky doesn’t care a damn.
HELEN: It’s difficult to tell with Nicky.
PAWNIE: He’s divinely selfish; all amusing people are.
HELEN: Did you hear him play in Paris?

4
 THE VORTEX ACT I

PAWNIB: Yes.
HELEN: Well?
PAWNIE: Erratic —- one or two things perfect, but he’s slovenly.
HELEN: He only takes things seriously in spurts, but still he’s
very young.
PAWNIE: Do you really think that’s a good excuse.
HELEN: No, I'm afraid not, especially when so much depends on
it.
PAWNIE: What does depend on it?
HELEN: Everything — his life’s happiness.
PAWNIE: Don't be so terribly intense, dear.
HBLEN: It’s true.
PAWNIE: I’m quite sure Nicky will be perfectly happy as long as
he goes on attracting people; he loves being attractive.
HELEN: Naturally, he’s Florence’s son.
PAWNIB: Such an exciting thing to be.
HELEN: You don’t believe Nicky’s got anything in him at all, do
your?
PAWNIE (lightly): I don’t think it matters, anyway.
HELEN: I do.
PAWNIE: But you've got a loving nature, Helen. I always knew
it.
HELEN: Nicky hasn’t had a chance.
PAWNIE: Nonsense — he’s had everything he wanted ever since
the day he was born, and he’ll go on wasting his opportunities
until he dies.
HELEN: Quite possibly.
PAWNIE: Well, there you are then.
HELEN: He may have had everything he wanted, but he’s had
none of the things he really needs.
pawNig: Are you talking socially or spiritually.
HELEN: You're quite right, Pawnie, you wouldn’t be so beauti-
fully preserved if you'd wasted any of your valuable time or
sincerity.
PAWNIE: I forgive you for that, Helen, freely.
HELEN: Thank you so much.
PAWNIE: You must realise one thing, everyone is sacrificed to
Florence — it’s as it should be ~— of course, she’s a couple of

5
ACT I THE VORTEX

hundred years too late — she ought to have been aflaunting,

intriguing King’s mistress, with black page boys and jade baths
and things too divine —
Enter PRESTON.
PRESTON (announcing): Miss Hibbert.
Enter CLARA HIBBERT — she is affected, but quite well dressed.
PRESTON goes out.
CLARA: My dears. Isn't Florence back yet?
HELEN: No, we're waiting for her.
PAWNIE: You look harassed, Clara.
CLARA: I am harassed.
HELEN: Why?
CLaRA: I'm singing to-night for Laura Tennant — she’s giving a
dreadful reception at her dreadful house for some dreadful
_ Ambassador—
PAWNIE: How dreadful!
ciara: No one will listen to me, of course — they'll all be far too
busy avoiding the Cup and searching for the Champagne.
HELEN: What are you singing?
CLARA: One Gabriel Faure, two Reynaldo Hahn’s and an Aria.
PAWNIE: Which Aria?
CLARA: I can’t think, but my accompanist will know ~ I've got a
frightful headache.
HELEN: Why don't you take off your hat?
CLARA: My dear, I daren’t — I’ve just had my hair done - I
suppose you haven't got a ‘Cachet Faivre’, either of you?
HELEN: No, but Florence has, I expect — Preston will know
where they are — ring the bell, Pawnie. |
PAWNIE (ringing bell): My poor Clara ~ 1 do hope your singing to-
night will justify the fuss you’re making this afternoon.
CLARA: Don't be so brutal, Pawnie.
HELEN: Is Gregory going with you?
ciara: Of course — I never sing unless he’s there ~ he gives me
such marvellous moral support.
PAWNIE: ‘Moral’ is hardly the word I should have chosen, dear.
Enter PRESTON.
 THE VORTEX ACT I

HELEN: Do you know if Mrs Lancaster has any ‘Cachet Faivre’

anywhere?
PRESTON: Yes, ma’am — I think so.
CLARA: Do get me one, Preston, I’m suffering tortures.
PRESTON: Very well, miss.
She goes out.
PAWNIE: Preston has such wonderful poise, hasn’t she?
HELEN: She needs it in this house.
CLARA: I do wish Florence would hurry up. I want to borrow
her green fan. I’ve got a new Patou frock that positively
demands it.
HELEN: She can’t be long now.
CLARA: I suppose I daren’t ask Preston for the fan and creep
away with it?
HELEN: I shouldn’t, if I were you — Florence is very touchy over
that sort of thing.
CLARA: She promised it to me ages ago.
PAWNIE: Surely there isn’t such a desperate hurry? You won't be
singing until about half-past eleven.
CLARA (petulantly): My dear, I’ve got to rehearse ~ I don’t know a
word —
Re-enter PRESTON with a ‘Cachet Faivre’ and a glass of water.
CLARA: You're a Saint, Preston — thank you a thousand times —
PAWNIE: Soak italittle first, dear, or you'll choke, and I should
detest that.
CLARA soaks ‘Cachet’ and then swallows it. PRESTON goes out.
CLARA: Now I must lie down flat ~ get out of the way, Helen.
PAWNIE: Perhaps you'd like us both to go right out of the room
and sit in the hall?
ciara: No, Pawnie, I should never expect the least considera-
tion from you.
She lies down flat on the divan, HELEN arranges cushions for her.
CLARA: Thank you, Helen darling — I shall always come to you
whenever I'm ill.
HELEN: That will be nice.
Enter FLORENCE LANCASTER followed by TOM VBERYAN. FLOR-
ENCE is brilliantly dressed almost to the point of being ‘outre’. Her

rh
ACT I THE VORTEX

face still retains the remnants of great beauty. Tom is athletic and
good looking. One feels he is good at games and extremely bad at
everything else.
FLORENCE: Helen - Pawnie, have you been here long?
PAWNIE: No, only a few hours.
FLORENCE: My dear. I'm so frightfully sorry - we’ve been held
up for ages in the traffic. Davis is a congenital idiot. Always
manages to get to a turning just as the policeman puts out his
hand. No initiative whatever. What's happened to Clara? Has
she been run over?
CLARA: No, dear, I’ve got a frightful head.
FLORENCE: Pawnie, you know Tom, don’t you? - Tom Veryan,
Mr Quentin, I'm sure you'll adore one another.
TOM (shaking hands): How are you?
PAWNIE: Very well, thank you — how sweet of you to ask me?
FLORENCE: Is there anything I can do, Clara?
CLARA: Yes, dear, lend me your green fan for to-night.
FLORENCE: All right — but you won’t get too carried away with it,
will you, dear? I should hate the feathers to come out. Does
anyone want any tea?
HELEN: No thanks, dear.
FLORENCE: Cocktails, then?
PAWNIB: It’s too early.
FLORENCE (ringing bell): It’s never too early for a cocktail.
cLaRA: J should like to go quite quietly into a Convent, and
never see anybody again ever —
PAWNIE: Gregory would be bored stiff in a Convent.
FLORENCE: We've just been to a most frightful Charity matinée.
Nothing but inaudible speeches from dreary old actors, and
leading ladies nudging one another all over the stage.
(PRESTON enters.) Cocktails, Preston, and ask Barker to wrap up
my green fan for Miss Hibbert to take away with her.
PRESTON: Very good, ma’am. :
She goes out.
CLARA: You're an angel, Florence - I think I'll sit up now.
FLORENCE: Do, dear, then Tom will be able to sit down.
CLARA (sitting up): I really do feel most peculiar.
PAWNIE: You look far from normal, dear.

8
 THE VORTEX ACT I

CLARA: If Pawnie’s rude to me any more I shall burst into tears.

FLORENCE: Tom, give me a cigarette.
PAWNIE: Here are some.
aan No, Tom has a special rather hearty kind that |
re.
peyeee Lend me your lip stick, Helen, mine has sunk down into
itself.
HELEN: Here you are.
CLARA: What a lovely colour! I look far prettier than | feel.
FLORENCE (to TOM): Thank you, angel.
CLARA: I shan’t be able to get down to the house until Saturday
evening, Florence — I’m seeing Gregory off to Newcastle.
PAWNIE: Why Newcastle?
CLARA: His home’s just near there — isn’t it too awful for him?
FLORENCE: Well, wire me the time of your train, won't you?
CLARA: Of course, dear.
HELEN: You're smelling divinely, Florence. What is it?
FLORENCE (flicking her handkerchief): It is good, isn’t it?
PAWNIB: ‘Narcisse Noir’ of Caron, I use it.
FLORENCE: Yes, you would, Pawnie.
Re-enter PRESTON with parcel.
PRESTON: Here is the fan, miss.
CLARA (taking it): Thank you so much — you are sweet, Florence.
A fan gives me such a feeling of security when I'm singing
modern stuff. (PRESTON goes out.) I must rush now —
FLORENCE: Don’t you want a cocktail before you go?
CLARA: No, darling ~ 1 should only hiccup all the evening. Good-
bye, you've been such a comfort — good-bye, Helen — Pawnie,
you will be nicer to me over the week-end, won't you? I shall
be so depressed, what with Gregory going away and every-
thing ~ Good-bye, Tom ~ I shall dine in bed and give way at
every pore —
She goes out.
PAWNIE: Poor Clara — she eternally labours under the delusion
that she really matters.
HELEN: We all do thata little.
FLORENCE (laughing): You're awfully cruel to her, Pawnie.
PAWNIE: She upsets my vibrations.

9
ACT I THE VORTEX

FLORENCE (before glass): I've taken a sudden hatred to this hat.

(She takes it off.) That’s better - are you going to The New
Elaine to-night, either of you?
HELEN: I’m not — but Pawnie is, of course.
PAWNIE: It’s going to be amazing — what a cast, my dear!
Marvellous Selwyn Steele, Nora Dean, and that perfect
woman, Lily Burfield —
HELEN: I can't stand her, she always over-acts.
PAWNIBE (incensed): How can you, Helen! Did you see her in
Simple Faith?
HELEN: Yes, unfortunately.
PAWNIB: Oh, you really are too tiresome for words!
HBLEN: Her technique creaks like machinery.
PAWNIB: It’s sacrilege — she’s too, too marvellous.
Enter PRESTON with a tray of cocktails. Everyone helps themselves.
FLORENCE: What do you think about it, Tom?
Tom: I've never seen her.
FLORENCE: Yes, you have. About three months ago, at the
Comedy.
TOM: Oh.... I don’t remember.
PAWNIB: Don’t remember! An artist like that! Good God, it’s
agony!
HELEN: You'll look awfully tired at dinner-time, Pawnie, if you
don’t calm down alittle.
FLORENCE: This is special - my own invention.
HELEN: Absolutely delicious.
TOM: A bit too sweet.
FLORENCE: Tom, darling, don’t be so taciturn - he’s always
taciturn after a matinée.
PAWNIE: When's Nicky coming back?
FLORENCE: To-morrow, isn’t it too divine? He’s been away for a
whole year, but I saw him for a moment on my way through
Paris last month. |
PAWNIE: Has he been working hard?
FLORENCE: I suppose so, but you know what Nicky is — bless his
heart!
PAWNIE: | heard him play at Yvonne Mirabeau’s.
FLORENCE: She’s a loathsome woman, isn’t she?

10
 THE VORTEX ACT I

HELEN: Not as bad as that.

PAWNIE: She’s a half-wit. I can’t bear half-wits.
FLORENCE: She goes on so dreadfully about things — devastating.
PAWNIE: Funny Nicky liking her so much.
FLORENCE: Only because she keeps on saying how wonderful he
is ~ that always appeals to Nicky.
PAWNIE: How old is he now?
FLORENCE: Twenty-four. Isn’t it absurd to think I have such a
grown-up son - old General Fenwick said last Thursday
that — (The telephone rings, she goes to it.) Hallo — hallo — yes, my
dear, how are you? - Yes, so am I, simply worn out. No,
when? How perfectly marvellous. .. . No, dear, it’s a prescrip-
tion: but I can let you have a little in a jar... . Quite easy, all
you dois just rub it on at night. ... Don’t be so silly .. . not in
the least, if you send the car round that will be all right....
Very well. ... Good-bye, darling. (She hangs up receiver.) 1 give
Clara Hibbert ten for stupidity, don’t you, Helen?
HELEN: A hundred and ten.
PAWNIE: Ten’s the limit.
TOM: I say, Florence — I think I’d better be getting along if I’ve
got to be dressed and back here by half-past seven —
FLORENCE: You've got half an hour.
TOM: That’s not very much.
FLORENCE: The car’s outside . . . take it and send it straight back.
PAWNIE: Can it drop me, Florence dear? I always feel so much
richer in your car than anyone else’s.
FLORENCE: Of course, Pawnie.
The telephone rings again.
FLORENCE (at telephone): Hallo ... yes ... speaking. ... How do
you do—?
PAWNIE: Good-bye, Helen, it’s been divine —
HELEN: Ring me up at tea-time to-morow.
FLORENCE: ... How perfectly sweet of you ... now, now really
.. well, naturally, if you persist in saying such charming
things ... (laughing gaily) ... what nonsense... .
PAWNIBE: Good-bye, Florence —
FLORENCE (she puts her hand over mouthpiece): It’s that awful

II
ACT I THE VORTEX

General Fenwick. ... Good-bye, Pawnie dear, you’re coming

down to the house on Friday?
PAWNIE: Yes, too lovely —
FLORENCE: Helen’s coming by the five o'clock— you'd better
travel together.
PAWNIBE: Perfect. (To Tom.) Are you ready?
TOM: Quite.
PAWNIE (as they go out): You can drop me first, can’t you? I’m not
as young as | was —
FLORENCE (at telephone): Please forgive me — people rushing in
and out, this house grows more like a railway station every
day ... now, General, that was a deliberate compliment. (She
laughs.) Ridiculous man ... very well. ... good-bye. (She hangs
up receiver.) My God, ten for dreariness!
HELEN: He’s not a bad old thing.
FLORENCE: No, but he tries to be, and that’s what’s so frightful.
(Arranging her hair before glass.) I look like Death. ... Isn’t Toma
darling?
HELEN: Yes, dear, without being aggressively brilliant.
FLORENCE: I’m afraid, Helen, you're getting rather bitter.
HELEN: Nonsense.
FLORENCE: It’s silly to be sarcastic about Tom.
HELEN: It’s better than being maudlin about him.
FLORENCE: I don’t know what you mean, dear. I’m not in the
least maudlin, and never have been about anybody. I
sometimes wish I could be ~ I’m too hard.
HELEN (taking a cigarette): Tom will let you down.
FLORENCE: Let me down? Why ... how ... I don’t under-
stand —
HELEN: You're more in love with him than he is with you.
FLORENCE: Don’t be so absurd, Helen.
HELEN: It’s true.
FLORENCE (complacently): He adores me — worships me — he’s
never seen anyone like me before in his life. I’m something
strange... exotic —
HELEN: You're more in love with him than he is with you.
FLORENCE: You're getting on my nerves to-day, Helen.
HELEN: You do see that I'm right, don’t you?

12
 THE VORTEX ACT f

FLORENCE: If you knew some of the things he’s said to me.

HELEN: I can guess them.
FLORENCE: That boy was utterly unawakened until he met me.
HELEN: He’s very young.
FLORENCE: I've taught him ~ everything.
HELEN: Or nothing.
FLORENCE: Helen, | believe you're jealous.
HELEN: Don’t be a fool.
FLORENCE: I wish I hadn't this fatal knack of seeing through
people.
HELEN: How’s David?
FLORENCE: | don’t know — he ought to be home soon.
HELEN: Doesn’t he ever suspect anything?
FLORENCE: Of course not — he adores me.
HELEN: It seems so strange not to see —
FLORENCE: I’m devoted to David — I'd do anything for him,
anything in the world - but he’s grown old and I've kept
young ~ it does muddle things up so. I can’t help having a
temperament, can I?
HELEN: Temperament.... No.
FLORENCE: David's always loved me and never understood me -
- you see, I’m such an extraordinary mixture. I have so many
sides to my character. I adore being at home and running the
house and looking after David and Nicky—
HELEN: You don’t exactly overdo it.
FLORENCE: Well, Nicky’s been away for such ages. Also, one
must be in London for the season. You can’t expect me to
bury myself in the country indefinitely - 1 shall be there
practically all through the spring and summer.
HELEN: Lovely tennis parties and cricket weeks and things —
FLORENCE: Certainly.
HELEN (kissing her): You're a divine creature, Florence.
FLORENCE (basking): Am I? (The telephone rings.) Hallo - yes -
speaking. (To HELEN in a whisper.) It’s Inez Zulieta, I never went
to her recital... . Inez, darling, 1 never recognised your voice
... didn’t you get my note? .. . it was absolutely true, I was in
agony.... Inez, don’t be angry, if you only knew how I
longed for the sound of your wonderful, wonderful voice ...

13
ACT I THE VORTEX

darling ... Inez, don’t be so cruel ... to-morrow, then. (She

hangs up receiver.) 1 do wish Inez wasn’t so persistent.
HELEN: You never stop encouraging her.
FLORENCE: Oh, Helen, I’m so tired of everyone.
HELEN: Except Tom?
FLORENCE: Yes, except Tom; he’s such a darling.
HELEN: How do you think he and Nicky will get on?
FLORENCE: Marvellously - Tom loves music.
HBLEN: He says he does.
FLORENCE: My dear, I took him to that Russian thing the other
day and he sat entranced from beginning to end.
HBLEN: Poor Nicky!
FLORENCE: Why do you say that?
HELEN: Because I sometimes feel it.
FLORENCE (suddenly furious): Oh, I wonder why we're such
_ friends — we're so opposite —- you don’t understand me abit. I
used to think you did, but you've been different lately -
unsympathetic.
HELEN: No, I haven't.
FLORENCE: Yes, you have — over Tom ~ I believe you're in love
with him yourself.
HELEN (smiling): No — it isn’t that.
FLORENCE: Anyhow, you can’t bear him being in love with me.
HELEN: I don’t think he is — really. 1 quite realise that he was
very violently infatuated, but that is wearing off a bit now. I'm
beginning to see him as he is....
FLORENCE: No, no, it’s not true — you don’t understand—
HELEN: We are friends, Florence, though we're so ‘opposite’.
Do you really know the truth ~ inside you? Or is all this shrill
vanity real?
FLORENCE: What's the matter with you?
HELEN: You're ten years older than I am, but when I'm your age
I shall be twenty years older than you.
FLORENCE: Darling, how deliciously involved — what can you
mean by that?
HELEN: I mean, I think it’s silly not to grow old when the time
comes.
She rises and goes towards door.

14
 THE VORTEX ACT 1!

FLORENCE (outraged): Helen! (There is suddenly heard a violent

knocking
at thefront door.) What on earth is that?
There is a noise outside, then the door bursts open and NICKY enters.
He is extremely well dressed intravelling clothes. He is tall andpale,
with thin, nervous hands.
FLORENCE: Nicky.
Nicky: Mother.
He embraces her.
FLORENCE: But I'd no idea — I thought you were coming to-
morrow.
Nicky: No, to-day — I wrote to you.
FLORENCE: I'm terribly, terribly excited.
nicky: Helen, dear, how are you?
He kisses her.
HELEN: Splendid, Nicky.
FLORENCE: I can’t get over your arriving like this.... I never
realized—
NICKY: Silly ... you're looking awfully well.
FLORENCE: Am I?
NICKY: Wonderful, as usual.
FLORENCE: I was talking to George Morrison only last Thurs-
day —
Nicky: The man who wrote that fearful book?
FLORENCE: It isn’t a fearful book, it’s brilliant - anyhow, he
absolutely refused to believe that I had a grown-up son.
HELEN: My dears, I must fly.
Nicky: Don't go yet.
HELEN: | must — I’m hours late as it is,
NICKY: Bea little later, then.
FLORENCE: Remember, five o'clock train on Friday.
Nicky: Oh, is she coming down to the house — divine?
HELEN: Yes, if Florence is still speaking to me - good-bye.
She goes out.
nicky: Have you been having a scene?
FLORENCE: No, dear.
NICKY: She’s a darling — Helen—
FLORENCE: Extremely stupid and tactless sometimes.

5
ACT I THE VORTEX

NICKY: It doesn’t feel as though I'd been away at all.

FLORENCE: I've missed you appallingly — we had such a short
time together in Paris — did you enjoy all my letters?
NICKY: I adored them — so did John Bagot. I used to read most of
them aloud to him. He’s mad on you, saw your pictures in the
Tatler, or something, and fell in love with it.
FLORENCE: Is he nice?
NICKY: He’s grand.
FLORENCE; We must all dine at the Embassy. When is he
coming to England?
nicky: Not until after Christmas.
FLORENCE: You must see my new photographs, they're wonder-
ful.
She takes large packet from desk.
NICKY: It’s heavenly — being back.
FLORENCE: Look.
Nicky: I don’t like that one.
FLORENCE: How can you, Nicky! — Tom likes that one best of
all.
NICKY: Who’s Tom?
FLORENCE: Tom Veryan — he’s a dear, you'll like him frightfully
— you know - the very nicest type of Englishman.
Nicky: I hate the very nicest type of Englishman.
FLORENCE: Don’t be tiresome, Nicky, he’s only twenty-four, and
they all think so well of him —
Nicky: All who? .
FLORENCE: All his officers and people, he’s in the Brigade.
NICKY (holding photograph away from him and scrutinising it through
half-closed eyes): Now that one really is enchanting — they've got
your hair beautifully - Oh, yes, my dear, it’s perfect.
FLORENCE (complacently): It is good — she’s sweet — Madame
Henderson, she simply won’t hear of my paying for these —
she says it’s quite sufficient to be allowed to exhibit them in
the window.
NICKY: Is anyone dining this evening?
FLORENCE: No ~ Oh, dear, I'd forgotten ~ I’m dining out with
Tom.
NICKY: Oh -—I see.

16
 THE VORTEX ACT I

FLORENCE: Your first night home, too — how perfectly fiendish.

What a fool I am to have muddled it up.
NICKY: It doesn’t matter, darling.
FLORENCE: Oh, but it does. I wonder if we could get another
seat — ;
NICKy: Seat, what for?
FLORENCE: We're going to the first night of The New Elaine, it’s
going to be marvellous.
Nicky: Who's in it?
FLORENCE: Nora Dean and Selwyn Steele—
NICKY: Oh, God!
FLORENCE: It’s silly of you always to jeer at Selwyn Steele. He’s a
brilliant actor, if only he could get away from his wife. ...
Nicky: I couldn't bear him to-night, anyway, I’m tired. Is father
home yet?
FLORENCE: No, I don’t think so. Oh, I do feel such a beast—
Nicky: Don’t be silly — honestly, I don’t mind a bit.
FLORENCE: | know ~ you have a nice quiet dinner here and join
us at the Embassy afterwards.
Nicky: Is it a late night?
FLORENCE: Yes, they play the most heavenly tune there now -
Tom always makes them do it over and over again — I'll put it
on —
She goes to the gramophone.
NIcKY: How’s Iris?
FLORENCE: My dear, don’t speak of her.
NICKY: Why ~ what’s she done?
FLORENCE: She’s been absolutely foul.
NICKY: In what way?
FLORENCE: Every way — I never trusted her, luckily - Thank
God I've got instincts about people - listen, isn’t this
marvellous — She said the most filthy things to Gloria Craig
about me — I always knew she was insanely jealous, but there
are limits. I loathe being at people’s beck and call. ... Come
and dance.
NICKY (as they dance): I'm sorry you’ve rowed — I rather liked
her —
ACT I THE VORTEX

FLORENCE: Only because she kept on saying how wonderful you

were. ... She doesn’t know a thing about music really.
NICKY: Oh, yes, she does.
FLORENCE: It’s merely bluff — all that appreciation — Darling, how
oddly you’re dancing.
NICKY: It’s probably because we haven't danced together for so
long....
FLORENCE: Anyhow, now she’s gone off to Monte Carlo with
Violet Fenchurch ~ silly fool —
Enter DAVID LANCASTER. He is an elderly grey-haired pleasant
man,
DAVID (delighted): Nicky - my boy —
NICKY (kissing him): Hallo, father—
DAVID: I thought — Florence said ~ to-morrow—
Nicky: Mother muddled it up.
DAVID: You look rather tired.
NICKY: I’m splendid —- how’s everything?
DAVID: The same as usual. I’ve made lots of improvements
down at the house.
FLORENCE: David thinks and talks of nothing but the farm —
DAVID: It’s beginning to pay a bit — Peterson’s an awfully good
man.
NICKy: We'll make a grand tour of it on Sunday.
DAVID: Have you enjoyed yourself in Paris?
NICKY: Oh, yes, rather — it’s a splendid place to work.
DAVID: It never struck me that way quite, but still —
FLORENCE: Sophie de Molignac said Nicky’s playing had
improved wonderfully.
DAVID: I’m so glad, Nicky.
Nicky: I've been doing some Spanish stuff lately.
DAVID: I wish I knew more about it.
NICKy: Never mind, father. ;
DAVID: Come to my room and talk, I can’t bear that thing—
FLORENCE: Father's such a beast, he never will dance with me.
DAVID: Is the Evening News anywhere about?
NICKyY: Yes, here.
He gives it to him.

18
 THE VORTEX ACT I

DAVID: I’m so glad you’re home again, Nicky — don’t forget ~

come and talk....
He goes out.
FLORENCE: David's so much happier in the country.
Nicky: Why on earth doesn’t he retire and live at the house for
good?
FLORENCE: Work has become such a habit with him — he’s
always hated giving up habits.
NICKy: Mother — I've got something rather important to tell you.
FLORENCE: Darling, how thrilling! What is it?
NICKY: I am engaged to be married.
FLORENCE: What!
NICKY: Practically —- as much as one can be these days.
FLORENCE: Nicky!
Nicky: Don’t look so stricken.
FLORENCE: But, Nicky - I never sort of visualised you being
engaged, or married, or anything.
NICKY: Why not?
FLORENCE: You're not old enough.
NIcKy: I’m twenty-four.
FLORENCE: You don’t look it.... Thank God!
Nicky: What do you really feel about it, mother?
FLORENCE: Darling — 1 hardly know what to say — you've sprung
it on me so suddenly - who is she?
nicky: A girl called Bunty Mainwaring.
FLORENCE: What asilly name!
NICKY: It isn’t at all — it’s very attractive.
FLORENCS: Is she an actress, or a student, or what?
Nicky: Neither — she is what is technically termed a ‘lady’.
FLORENCE: Do you think she'll like me?
nicky: She went mad over your photograph.
FLORENCE: Which one?
NICKY: The ‘looking out of the window’ one.
FLORENCE: That really is one of the best I've ever had done.
NICKY: She said you had the face of an heroic little boy.
FLORENCE: What a divine thing to say!
She glances at herself in the glass.

19
ACT I THE VORTEX

NICKY: She does say divine things — she’s supremely intelligent.

FLORENCE: Is she in Paris?
NIcKy: No, she came over with me to-day.
FLORENCE: Where does she live?
NICKyY: Just round the corner in Carbury Square.
FLORENCE: Near the Churchingtons?
NICK: It’s her mother’s house, but her mother’s away just now,
so | asked her to change quickly and come on here.
FLORENCE: Nicky!
NIcKY: Why not? I wanted you to see her as soon as possible.
FLORENCE (realising parental responsibility): It's an awful shock,
you know.
Nicky: Nonsense, mother — you're quite excited about it, really.
FLORENCE (with determination): I shall be charming to her.
Nicky: Then she’ll adore you at once — probably too much, and I
shall be jealous.
FLORENCE: You'd better both dine here together and come on to
the Embassy — how old is she?
NICKY: Twenty-three.
FLORENCE: What does she do?
nicky: Nothing much ~ she writes things occasionally.
FLORENCE: Where did you meet her?
Nicky: First of all at a party at Olive Lloyd-Kennedy’s.
FLORENCE: | can’t bear Olive Lloyd-Kennedy — she’s a cat.
Nicky: Then I met her again at Marion Fawcett’s — a frightful
sort of reception affair - she was staying with her.
FLORENCE: She seems to move exclusively among my worst
enemies — is she pretty?
nicky: I don’t know - I haven't really noticed.
FLORENCE (with a touch of real feeling): Nicky, darling, I do feel so
extraordinary about it.
NICKY: Why extraordinary?
FLORENCE: It’s a milestone, isn’t it - you being engaged? A
definite milestone? (She catches sight of herself:) Look at my nose.
(She powders it.) 1 do hope she'll like me ~ I must go and dress
now, Tom is fetching me at half-past seven — bring her to my
room when she comes.
NICKY: Don’t go for a minute.

20
 THE VORTEX ACT I

FLORENCE: | must, really - Tom will be furious.

NICKY: Oh, damn Tom!
FLORENCE: Oh, Nicky, don’t go and take one of your tiresome
prejudices against him.
NICKY (smiling): All right, I'll try not to.
FLORENCE: He’s frightfully good-looking.
NICKY: Oh!
FLORENCE: And he adores music.
nicky: Now, then, mother—
FLORENCE: He does, honestly.
NICKY: Good.
FLORENCE: And he dances beautifully.
nicky: I shall never stop dancing with him.
FLORENCE: And he’s so good at games.
Nicky: He sounds adorable.
FLORENCE: Of course, he needs knowing.
Nicky: So do I.
FLORENCE: You will make an effort though, darling, won’t you?
For my sake?
NIcKY: Yes, mother.
FLORENCE: And we'll all have a divine time together, Tom and
me and you and what’s her name —
NICKY: Bunty.
FLORENCE: Oh, yes, of course, Bunty.
Front door bell rings.
NIcKY: This is her, I expect.
FLORENCE: Do you feel wonderful about her?
NICKY: Yes.
FLORENCE: It is thrilling, isn’t it — being in love?
NICKY (frowning a little): Yes.
FLORENCE: Your father was right — you look awfully tired,
Nicky.
NICKy: What nonsense! | feel grand.
Enter PRESTON.
PRESTON (announcing): Miss Mainwaring.
BUNTY comes in, very self-assured and well dressed. She is more
attractive than pretty in a boyish sort ofway.
PRESTON goes out.
ACT I THE VORTEX

NICKY: Bunty. You have been quick.

BUNTY: I've simply flown.
nicky: Bunty ... here is mother. ...
BUNTY: Oh!
FLORENCE (taking both her hands): This is frightfully exciting, isn’t
it?
She kisses her.
nicky: I've told her.
BUNTY: Are you furious?
FLORENCE: Of course not - why should I be? ’Specially now.
BUNTY: It’s absolutely incredible, you being Nicky’s mother.
FLORENCE: Am I anything like you thought I'd be?
BUNTY: Yes, exactly — but I couldn’t believe it until I saw you.
FLORENCE: Take off that perfectly divine cloak and have a
cigarette — I’ve got to rush and dress now, because I'm terribly
late, but you're dining here with Nicky and joining Tom
Veryan and me at the Embassy afterwards.
BUNTY: Tom Veryan...?
FLORENCE: Yes, do you know him?
BUNTY: I did when I was a child — if it’s the same one.
She takes offher cloak.
FLORENCE (effusively): Nicky — 1 don’t feel extraordinary about it
any more — I'm delighted.
NICKY: Angel.
FLORENCE: Perhaps Bunty would like to come down to the
house on Friday for the week-end?
NICKy: Oh, yes, marvellous.
BUNTY: It’s awfully sweet of you, Mrs Lancaster.
FLORENCE: You must call me Florence ~ I can’t bear Mrs
Lancaster. I must fly, Tom will be here at any moment — that’s
him on the desk.
BUNTY (going over to pewearar ven,— it is the same one.
FLORENCE: How too divine.
Telephone rings.
"Hallo — yes, speaking— Elsa, darling, how are you... What?
ee . how perfectly heavenly, of course, I‘d adore it
. listen, Nicky’s just back from Paris, can he come too with

22
 THE VORTEX ACT I

oo Mainwaring — yes, he’s here. — See you to-night,

ear...
Here, Nicky, talk to Elsa... .
She snatches up her hand-bag and fur coat and kisses BuNTY
effusively.
I’m so glad about you and Nicky — it’s too wonderful.
She rushes out.
NICKY (at telephone): Hallo, Elsa ... I'd no idea you were in
London. I'm terribly thrilled - my dear, you haven’t ... all
those lovely tunes you played to me in Paris? . . . how amazing,
I am glad ... have you done anything with that Tango? ...
You must play it to-night, I want Bunty to hear it.... It is
perfect, isn’t it? ... Good-bye, dear. (He hangs up the receiver.)
Bunty.
BUNTY: What?
NIcKyY: I'm terribly happy.
BUNTY: So am I.
nicky: Do you remember how we planned all this - coming
home together — and breaking it to mother — and everything?
BUNTY: Rather.
NicKY: Do you really like her?
BUNTY: I adore her — she’s a perfect angel.
nicky: I told her your ‘heroic little boy’ line — she loved it.
BUNTY: It’s true, you know — rather defiant too — laughing at
Fate.
NICKY: Doesn't Paris seem ages away now?
BUNTY: A different life altogether.
NICKY: That nasty little bit of channel is such an enormous gulf,
really. Did you put that dress on on purpose?
BUNTY (smiling): Perhaps.
NICKY: You are a devil.
BUNTY: It’s such fun being reminded of things.
nicky: And such agony, too.
BUNTY: Nicky, darling - why agony?
NICKY: It’s always agony being in love, and I started loving you
in that dress,
BUNTY: Did you?
NICKY: Don’t pretend you didn’t know.

23
ACT I THE VORTEX

BUNTY: I suppose one always knows — really.

NICKY: From the very first moment.
BUNTY: Yes.
Nicky: A sort of spark.
BUNTY: Your playing helped a lot.
NICKY: I meant it to.
BUNTY: Calculating pig.
NICKY: Have a Cigarette?
BUNTY: All right.
He hands her box, and shetakes one.
NICKY (lighting her cigarette): | wish we weren't so free.
BUNTY: Why? What do you mean?
NIcKY: I feel I should like to elope, or something violently
romantic like that.
“BUNTY (laughing): There wouldn’t be much point in it now,
would there?
NICKY: Perhaps not. How much do you love me?
BUNTY: I don’t know.
NICKY: It’s fun analysing one’s emotions.
BUNTY: Marvellous fun.
nicky: And a comfort, too, when things go wrong — but it kills
sentiment stone dead.
BUNTY: A good job too.
Nicky: You're frightfully hard, Bunty.
BUNTY: Am I?
NICKY: Much harder than me - really.
BUNTY: You've got so much hysteria.
Nicky: I can’t help it.
BUNTY: Of course not, it’s your temperament. You burst out
suddenly.
NIcKy: Not so badly as I used to.
BUNTY: You're growing older.
Nicky: God, yes; isn’t it foul?
BUNTY: Hell, my dear.
Nicky: It’s funny how mother’s generation always longed to be
old when they were young, and we strain every nerve to keep
young.

24
 THE VORTEX ACT I

BUNTY: That's because we see what's coming so much more

clearly.
NICKy: Wouldn't it be terrible to know exactly ~ I feel frightened
sometimes.
BUNTY: Why?
Nicky: We're all so hectic and nervy....
BUNTY: It doesn’t matter - it probably only means we shan’t live
so long....
NICKY (suddenly): Shut up - shut up....
Enter PRESTON.
PRESTON (announcing): Mr Veryan.
Enter TOM. Nicky greets him and shakes hands. Exit PRESTON.
Nicky: How are you? — I’m Nicky — I came over to-day instead of
to-morrow. ...
TOM: Oh!
Nicky: Do you know Bunty Mainwaring?
ToM: Bunty — I say — I am glad.
They shake hands warmly.
nicky: We'd better have some cocktails.
He goes to the door and shouts.
Preston ... bring us some cocktails. ...
tom: This is jolly - 1 didn’t know what had become of you.
BUNTY: I’ve been living in Paris a good deal.
ToM: How many years ago is it since we...
BUNTY: During the War — the last time I saw you, you were at
Sandhurst.
NICKY: Such a pretty place.
tom: You've hardly altered a bit - more grown up, of course.
nicky: All this is most affecting.
ToM: Bunty and I used to know one another awfully well.
NiCKY: What fun!
BUNTY (wamingly): Nicky...
NICKY: But it is — it’s thrilling - there’s nothing so charming as a
reunion.
BuntyY: Nicky and I have been travelling all day.... Boats and
trains get on his nerves....

25
ACT I THE VORTEX

NICKY: When the cocktails come, tell Preston to bring mine to

me in father’s room.
BUNTY: Nicky, don’t be so silly.
NICKY: Surely it’s not silly to want to talk to my aged father after
a year’s debauch in Paris? I fail to. see why you should have the
monopoly of reunions.
BUNTY: Well, don’t be long.
TOM: Cheerio!
NICKY (crossly): Oh, God!
He goes out.
TOM: What's up?
BUNTY: These temperamental musicians.
TOM: Silly ass.
BUNTY: He isn’t really ~ he’s only jealous.
Tom: Why ... is he...?
BUNTY: We're by way of being engaged.
TOM: What?
BUNTY: Why not?
TOM: Are you ... are you in love with him?
BUNTY (lightly): Yes — isn’t it damnable?
Tom: Good Lord!
He laughs.
BUNTY: What are you laughing at?
TOM: It seems so funny you being in love with that sort of chap.
BUNTY: What do you mean by ‘that sort of chap’?
rom: Oh — I don’t know, that type seems so unlike you.
BUNTY: Type?
Tom: Yes, you know — up in the air — effeminate.
BUNTY: You're more bucolic than you used to be, Tom.
TOM: Here, I say...
Enter PRESTON with cocktails. |
BUNTY: Will you please take Mr Nicky’s in to him in his father’s
room?
PRESTON: Yes, miss.
Tom: Is Mrs Lancaster nearly ready?
PRESTON: I think so, sir.
TOM: Ask her to hurry — we shall be late.

26
 THE VORTEX ACT I

PRESTON: Yes, Sir.

He goes out.
BUNTY: I can laugh now.
She does so.
TOM: Why?
BUNTY: I've just realised something.
Tom: What?
BUNTY: We shall meet again — over the week-end.
Tom: Are you coming down to the house?
BUNTY: Yes.
Tom: That's splendid —- come for a tramp Sunday morning and
we'll talk.
BUNTY: What about?
Tom: Oh, lots of things ~ old times.
BUNTY (lifting her cocktail): Old times, Tom.
TOM (doing the same): Cheerio!

CURTAIN

27
 ACT il

The scene is the hall of MRS LANCASTER’S house, about forty

miles from London.
When the curtain rises it is just after dinner on the Sunday of
the week-end party — the gramophone is going, and there is a
continual buzz of conversation. CLARA HIBBERT, an emaciated
soprano, is dancing with TOM VERYAN, HELEN with PAWNIE,
and NiCKY with BUNTY. FLORENCE is seated on the club fender
talking intellectually with BRUCE FAIRLIGHT, an earnest drama-
tist, the squalor of whose plays is much appreciated by those who
live in comparative luxury.
There must be a feeling of hectic amusement and noise, and the
air black with cigarette smoke and superlatives. During the first
part of the scene everyone must appear to be talking at once, but
the actual lines spoken while dancing must be timed to reach the
audience as the speakers pass near the footlights. This scene will
probably be exceedingly difficult to produce, but is absolutely
indispensable.

HELEN: It’s much too fast, Nicky.

Tom: Do slow down abit.
Nicky: It’s the place that’s marked on the record.
PAWNIE: I’ve never danced well since the War, I don’t know
why.
FLORENCE: But your last act was so strong, when she came in
half mad with fright and described everything minutely.
BRUCE: | try to write as honestly as possible.
CLARA: I gave her three for manners, but seven for charm,
because I had to bealittle nice!
Tom: I thought she was rather a decent sort.
BUNTY: No, but really, Nicky, his technique completely annihi-
lated his inspiration.

28
 THE VORTEX ACT II

NICKY: Not with Debussy and Ravel, with the older Masters, yes;
but he’s probably tired of them.
BUNTY: That's so stupid, I think.
HELEN: My dear, it was the most “Chic’ thing you've ever seen,
but unfortunately the wrong colour.
PAWNIB: Marion Ferris had that Poiret model copied in the most
frightful blue!
CLARA: I believe my shoe’s coming off.
TOM: Shall we stop?
CLARA: No, it’s all right.
FLORENCE: | wonder if you could gouge this cigarette-end out of
the holder for me?
BRUCE: I'll try (He does so.) I always smoke a pipe when I’m
working.
FLORENCE: How soothing!
BUNTY: I suppose one can never really judge properly from a
recital.
Nicky: Not with him, because he’s not dramatic enough.
BUNTY: Dramatic pianists make me uncomfortable.
HELEN: Pawnie, your tongue grows more venomous every day.
PAWNIE (giggling): Well, I had to say something — anyhow, it
was true.
HELEN: Especially about her ankles.
PAWNIE: My dear, yes!
They both laugh.
The record comes to an end, and NICKY begins to change it,
Everyone talks and laughs.
CLARA: You must come next Sunday week.
ToM: Thanks awfully, I'd love to.
CLARA: I’m only singing ballads, but you know what Sunday
concerts are.
ToM: Oh, yes, rather,
CLARA (to nicky): What's on the other side?
NICKY: ‘You've got the cutest ears and eyes and nose’.
PAWNIB: Do put on ‘Spoony Moon in Upper Carolina’.
HELEN: No, don’t put it on, Nicky, play it yourself; you always
make a gramophone go too quickly.
BUNTY: Yes, go on, Nicky.

29
ACT II THE VORTEX ee

FLORENCE (refusing BRUCE'S offer of a cigarette): No, thanks, not

another -— I’m dancing with Tom.
BUNTY (gaily): Missing one, Tom.
Tom: Righto!
NICKY commences to play a foxtrot.
BUNTY (dragging BRUCE to his feet): Come on, Mr Fairlight, don’t
overdo the serious dramatist stunt!
BRUCE: I warn you I’m no good.
He dances with her, and confirms the truth of his warning. CLARA
HIBBERT squashes down on the piano-seat next to NicKY and
endeavours with one finger in thetreble to follow the tune he is
playing. HELEN and pawNnig stand right down close to the
footlights, smoking and talking, their backs are half-turned to the
audience, but their remarks must be perfectly audible.
HELEN: Tom Veryan doesn’t dance as well as he thinks he does.
PAWNIE: With that figure he ought to be marvellous.
HELEN: He’s too athletic.
PAWNIE: Anyhow, I’m sure he’s a success at the Bath Club.
HELEN: Doesn't Florence look astounding?
PAWNIE: Absolutely. She knows exactly what suits her.
HELEN: Where's David?
PAWNIE: He went off to his study to smoke.
HELEN: I do wish Florence wouldn't be irritable with him in
front of everybody. I felt acutely uncomfortable at dinner.
PAWNIE: It makes Nicky furious as a rule, but to-night he was
too occupied with that stupid little fool Bunty Mainwaring to
take any notice.
HELEN: She’s an excellent type.
PAWNIE: Very average; I only hope nothing will come of Nicky’s
mania for her.
HELEN: I don't think we need worry.
PAWNIE: Why? :
HELEN: Wait and see, my dear.
CLARA (leaving NICKY at the piano and advancing on PAWNIB): Come
and dance, Pawnie, and tell me how divinely I sang on
Tuesday.
PAWNIE (agreeably): You didn’t.
CLARA: Ten for cruelty.
 THE VORTBX ACT If

They start to dance. HELEN moves over to the mantelpiece for a

cigarette.
HELEN: Have you a match, Nicky?
NICKyY: Isn’t this a marvellous tune?
HELEN: Fascinating! (She goes over and sits next to him. Gently slipping
her hand into his coat pocket.) Darling, 1 do want a match. (She
brings out a little box.) What a divine little box!
NICKY stops playing and jumps up.
NICKY (violently): Helen, give that to me —
Everyone stops dancing.
CLARA: Nicky, dear, don’t be tiresome.
NICKY (recovering himself): I'm sick of playing, let’s have the
gramophone again. (To HELEN.) Here’s a light, dearie.
He takes match-box out of another pocket and lights HELEN'S
cigarette. She looks at him queerly for a moment, then he restarts the
gramophone and everyone begins to dance again except HELEN and
BRUCE FAIRLIGHT. HELEN goes over to the fireplace and takes a
coffee-cup from the mantelpiece.
HELEN: Whose coffee is this? Someone drank mine, and I'd
hardly touched it.
BRUCE: If it has no sugar in it, it’s mine.
HELEN (draining it): It had no sugar in it.
FLORENCE: You're dancing abominably, Tom.
TOM: Oh, am P?
FLORENCE: What's the matter with you?
Tom: I don’t know, I suppose I'm tired.
FLORENCE: You're not usually tired when you're dancing with
me.
Tom: Oh, Florence, don’t nag!
FLORENCE: How dare you speak to me like that?
She stops dancing and goes over to the fireplace.
TOM (following her): I say, Florence — I'm sorry —
PAWNIE: Let’s stop the music for a moment and think of
something really marvellous to do.
BUNTY: No, let’s go on dancing.
cLaRA: I’m exhausted.

31
ACT It THE VORTEX

PAWNIE (stopping the gramophone): What was that divine game we

played coming back from Paris, Helen?
HELEN: Just ordinary ‘Clumps’, wasn’t it?
BUNTY: I loathe ‘Clumps’.
Nicky: What about the History game?
BRUCE: What's that?
BUNTY: Oh, no, Nicky, it’s too intellectual.
FLORENCE: There’s a Mah-jong set in the drawing-room.
PAWNIE: How divine — let’s make up a table immediately.
CLARA: I won't be happy until someone gives me a set made
entirely of jade.
NICKy: Come on, Bunty.
BUNTY (looking at Tom): I can’t play it.
Nicky: You can; you used to play it in Paris with Yvonne.
BUNTY: I've forgotten it.
Nicky: You'll soon remember again.
He drags her off. .
PAWNIE: Come along, Clara.
CLARA: I insist on Mr Fairlight learning.
BRUCE: I’m afraid I’m no good at that sort of thing.
CLARA: You'll be able to put it in one of your plays.
PAWNIE: Come and watch, it’s too thrilling for words.
CLARA, BRUCE and PAWNIE go off.
HELEN: Have you only one set, Florence?
FLORENCE: Yes, isn’t it maddening? Clara promised to bring hers
down but forgot.
HELEN: Does Bruce Fairlight play Bridge?
FLORENCE: No, I don’t think so.
HELEN: Dramatists are such a comfort in a house-party, aren’t
they?
She goes off. L
TOM: Aren’t you coming, Florence?
FLORENCE: No.
TOM (nonplussed): Oh!
FLORENCE: But please don’t let me stop you going, I'm sure
you're dying to be with the others.
Tom: I say, Florence, I wish you wouldn’t go on like that.

32.
 THE VORTEX ACT Ik

FLORENCE: | don’t know what is the matter with you, you've

never behaved like this before.
Tom: I haven't behaved like anything.
FLORENCE: You've been exceedingly rude to me, both at dinner
and afterwards.
Tom: I wasn’t at dinner.
FLORENCE: Yes, you were; you snapped me up when Isaid I
didn’t like Elsie Saunders.
Tom: You know perfectly well she’s a friend of mine.
FLORENCE: Well, she oughtn’t to be, after the things she’s said
about me.
Tom: You will go on imagining.
FLORENCE: Nothing of the sort — I know! If you weren't so dense
you'd see, too — the jealousy I have to put up with. I get so
tired of it all, so desperately tired.
She becomes a little pathetic.
rom: Talk about being different, you're different too —
FLORENCE: I’m unhappy.
Tom: Why?
FLORENCE: Because I hate to see you being put against me.
TOM: Florence!
FLORENCE: You'll understand one day. Theyre all very subtle,
but I can see.
tom: Nobody’s said a word to me about you, they'd better not
try.
FLORENCE: Why, what would you do?
Tom: I'd — I'd be furious.
FLORENCE: Oh!
tom: And I'd let them see it, too.
FLORENCE (holding out her hands): Tom—
TOM: Yes?
FLORENCE: I forgive you.
Tom: I can’t bear you being angry with me.
FLORENCE: Can't you, really?
rom: It makes me feel beastly.
FLORENCE: Come and sit here.
TOM (sitting next to her on the club fender): That’s a lovely dress.
FLORENCB: It is sweet, isn’t it?

33
ACT If THE VORTEX

tom: You always wear wonderful clothes.

FLORENCE: Do I, Tom?
TOM: You know you do.
FLORENCE: Do you remember the very first time we met?
Tom: Rather.
FLORENCE: Oxford's so full of romance, isn’t it?
TOM: It was when you came down.
FLORENCE: Thank you, Tom, dear.
ToM: We did have fun.
FLORENCE: You used to come up to matinées, and I'd motor you
back afterwards.
TOM: Ripping!
FLORENCE: That reminds me, I’ve got seats for Rolling Stones
on Tuesday — don’t forget.
Tom: You never said you were going to get them.
FLORENCE: It doesn’t matter, I thought I did. We'd better dine at
Claridges.
TOM: But, Florence, I — I can’t come!
FLORENCE: Why not?
TOM: I promised to go out.
FLORENCE: Who with?
Tom: Mother.
FLORENCE: Can't you put her off, it will be such a good first
night?
TOM: Well — you see, as a matter of fact — it's rather awkward - I
put her off the other day—
There is a slight pause.
FLORENCE (4 trifle coldly): Oh, well, never mind, we'll go some
other night.
Enter DAVID.
DAVID: Hallo, Florence, I thought you were in the drawing-
room.
FLORENCE: They're playing Mah-jong, and there’s only one set, I
shall break in presently.
TOM: I'll just go and see how they’re getting on.
This obvious excuse for getting out of the roomis not lost upon
FLORENCE.

34
 THE VORTEX ACT Il

FLORENCE: Yes, do.

Tom: Come and play soon.
He goes out quietly.
FLORENCE: Don’t you think this is a divine frock?
DAVID: Very pretty.
FLORENCB: You and Helen seemed to be very thick at dinner.
_ What were you talking about?
DAVID: Nothing much ~ I like Helen.
FLORENCE: Only because she flatters you and listens to every-
thing you say.
DAVID: She doesn’t flatter me.
FLORENCE: | suppose she was talking about the farm, and giving
her opinions.
DAVID: We did discuss the farm a little.
FLORENCE: She doesn’t know a thing about it, really.
DAVID: Perhaps not, but it passed the time.
He goes out.
FLORENCE Sits still for a moment, then she wearily buries her face
in her hands. Enter NICKY.
NICKY (going to her): What's the matter, darling?
FLORENCE: Nothing, I’ve got a slight headache.
nicky: Why don’t you go Byes?
FLORENCE: | can’t, it’s much too early.
NICKY: I'm sick of Mah-jong.
FLORENCE: Who's playing now?
NICKY: Pawnie and Helen and Clara are trying to teach Bruce
Fairlight, he’s an awful fool at it.
He sits down at the piano and plays absently.
FLORENCE: You must get Bunty out of that habit of contradict-
ing everything people say.
Nicky: I don’t see why.
FLORENCE: It’s bad breeding.
NICKY (striking a note viciously): Who cares nowadays? We've all
got a right to our opinions.
FLORENCE: She seems to forget that I’m much older than she is.
Nicky: That's no argument, mother; it’s silly only to remember
your age when someone says something you don’t like.

35
ACT I THE VORTEX

FLORENCE: She’s having a bad effect on you.

Nicky: Nonsense!
FLORENCE: You've changed since Paris.
NICKy: Naturally.
FLORENCE: You never used to be rude to me.
NICcKy: Oh, damn, I’m not rude.
FLORENCE: Yes, you are.
Nicky: Well, don’t start running down Bunty.
FLORENCE: Stop playing — stop playing!
NICKY (getting up angrily): Oh, God!
He goes towards door and collides with HELEN.
HELEN: What's happening?
FLORENCE: Nothing, Bunty’s just putting Nicky against me. |
knew she’d try to.
She goes out.
HELEN: You must be having a delightful evening! You leave the
drawing-room having rowed with Bunty, and come here and
row with Florence.
NICKy: Mother's impossible.
HELEN: She's no different from what she’s always been.
Nicky: Well, I haven't realised it before.
HELEN (taking a cigarette and lighting it): You haven't been engaged
before.
NICKY: I’m hating this house-party.
HELEN (lightly): Don’t say that, dear, it's not kind.
NICKY: You know I don’t mean you.
HELEN: Are you very much in love?
Nicky: Yes. — No. — I don’t know.
HELEN: I wonder.
NICKY: It’s utterly devastating, anyhow.
HELEN: When did you meet her?
Nicky: About five months ago.
HELEN: What was she doing in Paris?
Nicky: Oh, I don’t know ~ fooling about.
HELEN: Splendid.
NICKY: She’s been studying French literature.
HBLEN: Why?
NICKY: She’s going to write ~ herself — some day.

36
 THE VORTEX ACT II

HELEN: Oh, I see!

nicky: Helen, do you like her?
HELEN: I can't tell yet — yesterday was the first time I'd ever set
eyes on her.
NIcKy: She’s wonderfully intelligent.
HELEN: Yes — I'm sure she is.
nicky: You don’t like her?
HELEN: | tell you ~ I’m not sure yet.
Nicky: It’s generally the way - one’s friends always hate one
another.
HELEN (smiling): It is difficult for you, isn’t it?
nicky: I should so like you to like her.
HELEN: Very well — I'll try.
Nicky: She’s utterly opposite to me in every way.
HELEN: Yes, I see that.
NICKY: But that’s as it ought to be, isn’t it?
HBLEN: It depends.
NICKY: I need a sort of restraining influence terribly.
HELEN: Yes, Nicky.
nicky: She’s awfully good for me,
HELEN: Is she?
nicky: Yes - she curbs me when I get temperamental and silly.
HBLEN: I always felt you needed encouraging more than curbing.
NICKY (laughing): Oh, Helen — aren’t you a darling!
HELEN: I mean it.
Nicky: You're wrong, though — I’m all over the place.
HELEN: Anyhow, I do hope you'll be very happy with her.
nicky: I don’t suppose I shall ever be that - I haven't got the
knack.
HELEN: Do you work hard?
NICKY: Yes.
HELEN: Really hard?
Nicky: Frightfully.
HBLEN: Liar!
nicky: If you’d seen me in Paris - studying, studying ~ all night
long until the grey dawn put the guttering candle to shame ~
and my nerveless hands dropped from the keys —

37
ACT THE VORTEX.

HELEN: Candles gutter awfully quickly when they're burnt at

both ends.
NICKY: Meaning that I look a debauched wreck of my former
self?
HELEN: Exactly.
Nicky: If you go on encouraging me at this rate I shall commit
suicide.
HELEN: You do resent anyone taking a real interest in you, don’t
you?
NICKY: I distrust it.
HELEN: Why?
nicky: I don’t know - I’m not worth it.
HELEN: You seem to be suffering from a slight inferiority
complex.
“NICKY: Not a bit of it - I'm gay and witty and handsome.
HELEN: Oh, Nicky, you’re so maddening.
NICKY: Don’t be cross, Helen.
HELEN: I’m one of the few people who know what you're really
like, and you won't give me the credit for it.
NICKY: Do you think you do, honestly?
HELEN: Yes — and I'm exceedingly worried about you.
NICKy: You needn't be.
HELEN: You're sensitive and reserved and utterly foolish.
Nicky: Thank you — I’m beginning to feel beautifully pictu-
resque.
HELEN: And you're scared.
NICKy: Why! What have I to be scared about?
HELEN: Would you like me to tell you?
NICKY: No.
HELEN: Why not?
NICKY: Because you're a sentimentalist, and you see things that
aren't there at all. i
HELEN: You're far more sentimental than I.
nicky: Darling Helen — you've got such a lovely mind -—like a
Christmas card — with frosted robins and sheep wandering
about in the snow — bleating.
HELEN: All the same, I should give up drugs if I were you.
NICKY: Helen!

38
 THE VORTEX ACT

HELEN: Well?
Nicky: I don’t know what you mean.
HELEN: Do you think I can’t see?
NICKY (forcing a laugh): You're being terribly funny, aren't you?
HELEN: You fool! You unutterable little fool!
Nicky: Don't be dramatic, dear.
HELEN: I thought you had common sense; I credited you with
more intelligence than that.
nicky: If you persist in being absurd.
HELEN (suddenly with intense feeling): Nicky, don’t resist me, don’t
fight me, I'm your friend, I wouldn’t have said a word if I
weren't, You've got to stop it; you haven’t gone very far yet,
there’s still time — for God’s sake listen to reason.
Nicky: Shut up, shut up, don’t speak so loudly.
HELEN: Nicky, throw it away.
Nicky: When did you find out?
HELEN: To-night, you know, when you were playing, but I've
guessed for ages.
Nicky: You needn't be frightened, Helen, I only take just the
tiniest little bit, once in a blue moon!
HBLEN: If anything goes wrong, you'll take a lot — throw it away.
NIcKY: What could go wrong?
HELEN: Never mind, throw it away!
NickKY: I can’t — look out, somebody's coming.
Enter DAVID.
DAVID: Hallo!
NICKY: Hallo, father!
DAVID: What's the matter?
NICKY: The matter —- why?
DAVID: You look very worried.
nicky: Helen and I have just had a grand heart-to-heart talk;
we've undone our back hair, loosened our stays and wallowed
in it.
pAvip: Oh, I see!
HELEN: We haven't seen one another for so long - it was
inevitable.
pavip: You never came and looked at the Farm this morning - I
waited for you.

39
 ACT II THE VORTEX

Nicky: I’m awfully sorry, father - I just went on sleeping.

HELEN: I'll. see you later, Nicky.
nicky: All right.
HELEN goes out.
DAVID: How do you think your mother’s looking?
NICKY: Splendid — the same as ever.
DAVID: Would you like a cigar?
Nicky: No thanks, father ~ I’m not very good at them.
DAVID: I was just on my way to bed — there are far too many
people in the house.
NICKY (smiling): You must be used to that by now.
DAVID: You ought to stay down here, you know — during the
week and get some fresh air.
NICKY: I’ve got such millions of things to do in London.
“pavip: Worth doing?
Nicky: Yes, of course.
DAVID: You look as though you needed a rest.
NICKy: You needn’t worry about me - I feel splendid.
DAVID: She seems a nice girl.
NICKy: Who — Bunty?
DAVID: Yes. Quiet and untiresome.
Nicky: She’s a darling!
pavip: When do you propose to get married?
Nicky: I don’t know — the engagement’s only a sort of try-out,
you know.
DAVID: Oh, I see — I didn’t realise that — I’m so unversed in
modern technicalities.
NICKY: It’s her idea really — just to tread water for a bit.
DAVID: It sounds an excellent plan.
NICKY: I’m awfully glad you like her.
DAVID: Is she musical?
NICKY: Oh, yes — frightfully!
DAVID: Good!
NICKY: Father, I think I will come down here for a few days -
and work quietly.
DAVID: If you do that I'll only go up to London every other day
— I see so little of you when you're at the flat.
NicKY: That's settled then. I wonder what mother will say!

49
 THE VORTEX ACT II

pavip: I'll talk to her.

nicky: All right ~ she won’t bother about us much.
DAVID: No ~ I don’t suppose she will - I think I'll be getting
along to bed now. Good night, my boy!
NICKY: Good night, father!
They shake hands, and pavip pats nicky’s shoulder rather
tentatively. He goes upstairs and Nicky wanders to the piano. He
plays absently, and BUNTY enters.
BUNTY: I want to talk to you.
NICKY (still playing): All right.
BUNTY: Perhaps you'd stop playing for a minute.
NICKY: Won't you let me woo you with alittle Scriabin?
BUNTY: Please stop.
NICKY (rising): I’m unappreciated — that’s what it is.
There is a slight pause — he goes over toher.
I say, Bunty —
BUNTY: What?
NICKY: Before you say anything awful to me, | am sorry for
being rude just now.
BUNTY: So you ought to be.
nicky: Will you forgive me?
BUNTY: Yes, I forgive you.
Nicky: I've been irritable all the evening.
BUNTY: Give me a cigarette, Nicky.
NICKY: Here.
They both smoke.
BUNTY: Thanks.
NIcKy: What did you want to talk to me about?
BUNTY: Lots of things — Us!
NICKY (hardening): Oh, I see!
BUNTY: Don’t you think it’s rather silly —- being engaged?
Nicky: No, not at all.
BUNTY: I do.
NICKY: Just because we bickered a bit to-night?
BUNTY: No, not only because of that.
NICKy: Why then?
BUNTY: Can't you see?
ACT It THE VORTEX

NICKY: No.
BUNTY: Well, we're not very suited to one another are we?
Nicky: Why do you suddenly say that?
BUNTY: Because I've only just realised it.
Nicky: I’m sorry.
BUNTY: It’s not your fault particularly.
Nicky: I’m glad.
BUNTY: It’s circumstances and surroundings.
Nicky: Oh, that can be altered quite easily. We'll change the
shape of the house — we'll take all that wall away and turn that
into a studio - you love studios, don’t you? — then we'll
transform the drawing-room into an enormous aviary.
BUNTY: It’s practically that now!
Nicky: And then we'll —
BUNTY: Shut up, Nicky!
Nicky: I’m only trying to be amenable.
BUNTY: Are you, really?
Nicky: Yes, I’m putting up a sort of defence, Bunty. I have a
feeling that you're going to be unpleasant, and I want to
establish myself comfortably before you start.
BUNTY: I don’t want to be unpleasant — only honest. _
Nicky: You won't let the two run together, will you?
BUNTY (with vehemence): You're hopeless, hopeless, hopeless!
Nicky: Yes — | think I am rather.
BUNTY: In a way I'm glad — it makes it easier.
Nicky: Does it?
BUNTY: You're not in love with me, really — you couldn’t be!
Nicky: Please, don’t say that.
BUNTY: Why don’t you face things properly?
NICKY: One generally has to in the end — | like to put it off for as
long as possible.
BUNTY: That's cowardly.
Nicky: Don’t be pompous, darling.
BUNTY: You're a great help, I must say.
Nicky: Why should I help to destroy my own happiness?
BUNTY: That's self-pity and self-deception.
Nicky: Why are you going on like this?
BUNTY: Because I tell you — I've realised the truth.

42
 THE VORTEX ACT II

NICKY: I suppose you've taken a hatred to mother!

BUNTY: No, not a hatred.
Nicky: You don’t like her.
BUNTY: Not very much. _
Nicky: Why not? She likes you.
BUNTY: She detests me.
nicky: Nonsense, why should she?
BUNTY: Because I’m young.
NICKY: What afilthy thing to say!
BUNTY: It’s true.
NICKY: It’s nothing of the sort.
BUNTY: You're so stupid sometimes.
Nicky: Thank you.
BUNTY: Don’t let’s start bickering again.
NICKY: We won't discuss mother any more then.
BUNTY: You started it.
nicky: I wish I could make you understand her like I do ~ I
mean she’s awfully irritating, 1 know — but deep down she’s
marvellous in spite of everything.
BUNTY (coldly); Everything?
NICKY (vehemently): Yes, everything! Don’t be a beast, Bunty, just
try to see her point alittle, even if you do dislike her. She is
terribly silly about being ‘young’, 1 know, but she’s been used
to so much admiration and flattery and everything always, she
feels she sort of can’t give it up — you do see that, don’t you?
And she hasn't really anything in the least comforting to fall
back upon, she’s not clever — real kind of brain cleverness -
and father’s no good, and I’m no good, and all the time she’s
wanting life to be as it was instead of as it is. There’s no harm
in her anywhere — she’s just young inside. Can't you imagine
the utter foulness of growing old? ‘Specially if you’ve been
lovely and attractive like she was. The beautiful Flo Lancaster!
She used to be known as that ~ 1 can remember her when I
was quite small, coming up to say good night to me, looking
too perfectly radiant for words ~ and she used to come to the
school, too, sometimes, and everyone used to go mad over
her, and I used to get frightfully proud and excited—
BUNTY: I've never heard you talk like this before.

43
ACT It THE VORTEX

nicky: I don’t think I ever have.

BUNTY: Ilike. you better clear cut, not blurred by sentiment.
NicKY looks at her for a moment in amazement.
Nicky: To describe you as hard would be inadequate - you're
metallic!
BUNTY: I can see straight.
NICKY (politely); Can you?
BUNTY: Yes. We could never be happy together.
NICKY: Perhaps not.
BUNTY: Shall we just — finish — then?
NICKY: Certainly, I’m sorry we were too modern to have an
engagement ring, you’d have been able to give it back to me
so beautifully.
BUNTY: Don’t be ridiculous!
NICcKY: Better than being blurred by sentiment.
BUNTY lights another cigarette and, kicking off her shoes, perches on
the club fender and proceeds to warm her feet at the fire.
Enter CLARA HIBBERT.
CLARA: My dear, I’m shattered — and I'm going straight to bed -
probably for several weeks.
BUNTY: Why?
CLARA: Shshsh! He’s coming.
BUNTY: Who’s coming!
CLARA: Bruce Fairlight — I've been teaching him Mah-jong -
these master brains ~ agony, dear —
Enter BRUCE FAIRLIGHT.
BRUCE: Very interesting, that game.
CLARA (weakly): 1 thought you'd like it.
BRUCE: It’s interesting psychologically! The concentration and
suspense —
Enter FLORENCE, HELEN, PAWNIE dnd TOM. TOM is grasping a
whisky and soda — PAWNIE is eating a biscuit,
PAWNIE: I’m quite exhausted — it must be the country air—
FLORENCE; ~ it was too lovely, because I started with two red
dragons in my hand —
HELEN: I wondered who had them —
PAWNIE: One more tune, Nicky, before we go to bed—

44
 THE VORTEX ACT Il

FLORENCE: Yes, just one —

NICKY (looking at Bunty): I'll play ‘I love you!’ — such a romantic
tune.
He puts on the gramophone.
BUNTY: Do.
HELEN: What time’s everyone going up in the morning?
FLORENCE: The ten o’clock’s the best — we'll have breakfast at
nine downstairs.
PAWNIE (confidentially): Do you know that in London I can never
do more than nibble a piece of thin toast, and whenever I’m
away | eat enormously!
NIcKy: How very peculiar!
PAWNIE: Your tone revolts me, Nicky — you must never be
irascible with your old friends.
Nicky: I haven't got any.
HELEN: Nicky!
NICKY: Sorry, Helen.
FLORENCE: I don’t know what’s the matter with Nicky — he’s
been in a vile temper all the evening— his first week-end
home, too.
NiIcKY: Such a pity, when so much trouble has been taken to
make me happy and cosy.
TOM: Come and dance, Bunty.
BUNTY: No, not now.
NICKY: Dance with him, Bunty — chaps must have exercise.
FLORENCE: You dance with Bunty, Pawnie — I'll dance with Tom
— come on.
She and Tom dance.
HELEN: The great thing in this world is not to be obvious, Nicky
— over anything!
FLORENCE and Tom dance, also HELEN and PAWNIE. Everyone
talks at once, as in the beginning of the act.
PAWNI8: You are infuriating, Helen - it’s a wonderful book.
HELEN: Thoroughly second-rate.
PAWNIE: What do you think about Mischievous Passion, Fairlight?
BRUCE: J never read novels on principle.

45
ACT II THE VORTEX

PAWNIE: Well, you must read this — it’s ectoieek

HELEN: Don’t be led away by Pawnie, Mr Fairlight, he has no
discrimination.
PAWNIE: But I tell you it’s brilliant! Absolutely brilliant!
HELEN: Nonsense.
PAWNIE: There are times, Helen, when I could willingly see you
dead at my feet.
FLORENCE: A little slower, for Heaven’s sake!
NICKY: How’s that?
He makes it far too slow.
FLORENCE: I think you'd better go to bed, Nicky.
HELEN: We're all going, anyhow.
NICKY: Not yet, please, mummy dear — I’m having suchalovely
_ time!
He slams off in a rage.
PAWNIE: I always knew the Continent was fatal for the young.
BUNTY: Nicky's upset — it’s my fault — we're not engaged any
more.
FLORENCE: Why — what's happened?
BUNTY: Nothing happened — it was never very serious, really.
HELEN: | had a feeling that it was.
BUNTY: You were wrong.
FLORENCE; Well, I must say it’s all been rather abrupt.
BUNTY: It’s better to finish things off at once — cleanly — if you're
not quite sure, don’t you think?
FLORENCE: Well, I'm sorry, Bunty ~ if you feel like that about it
there’s nothing more to be said.
BUNTY: I wouldn’t have mentioned it at all — only you all seemed
to be blaming him for being irritable —
HELEN: Poor Nicky!
CLARA: I really must go up to bed now. Tm so tired. Good night,
Florence dear.
FLORENCE: Good night, Clara. Breakfast at nine. Have you got
books and everything you want?
CLARA: Yes, thanks. Good night, everyone.
Everyone murmurs good night politely.

46
 THE VORTEX ACT It

FLORENCE: Tom, be an angel and fetch me a glass of milk — it’s

in the drawing-room.
Tom: All right.
He goes off.
HELEN: Come on up, Florence, I’m dead.
FLORENCE: So am I. Will you turn out the lights when you
come?
PAWNIE: With beautiful precision, dear.
FLORENCE (as she and HELEN go upstairs): Tell Tom to bring my
milk up to me, somebody.
PAWNIE: All right.
FLORENCE: Good night, Mr Fairlight.
BRUCE: Good night.
PAWNIE: Good night, Florence.
FLORENCE and HELEN go off.
BRUCE: I suppose we'd all better go up.
BUNTY: I don’t feel I could sleep yet.
Re-enter ToM with a glass of milk.
TOM: Hallo! where’s Florence!
BUNTY: Gone up to bed — will you take her milk to her?
PAWNIE: What's become of Nicky?
TOM: In the smoking-room, | think.
BRUCE: Good night, Miss Mainwaring.
BUNTY: Good night.
They shake hands.
PAWNIE: | shall come, too - good night.
tom: Good night.
PAWNIE (to BRUCE as they go upstairs): When you're writing, do
your characters grow as you go along?
BRUCE: No, I think each one out minutely beforehand.
PAWNIE: How too intriguing!
They go off.
Tom: So you've broken it off already?
BUNTY: Yes.
tom: I didn’t know you were going to do it so soon.
BUNTY: It’s better to get things over.

47
ACT If THE VORTEX

tom: What did he say?

BUNTY: Nothing much.
Tom: Was he furious?
BUNTY: Oh! what does it matter? Don’t let’s go on about it.
TOM: It’s all damned awkward.
BUNTY: What?
tom: The whole thing.
BUNTY: You're rather scared, aren’t you?
Tom: No, not exactly —- now that I’ve got you to back me up.
BUNTY: I shall be glad when we're out of this house.
TOM: So shall I.
BUNTY: I hate the atmosphere.
tom: I don’t know how I've stood it for so long.
BUNTY: You didn’t notice it until 1 came, any more than I noticed
Nicky’s atmosphere until you came.
TOM: It’s queer, isn’t it?
BUNTY: We're reverting to type, don’t you see?
TOM: How d’you mean?
BUNTY: Never mind, it’s true.
Tom: Do you think I’m being a cad to Florence?
BUNTY: Yes, I do rather.
TOM: But, Bunty! You said this morning—
BUNTY: That I didn’t see how you could help yourself, neither |
do ~ it’s frightfully difficult, but it’s not altogether your fault,
any more than it would have been mine if I'd married Nicky.
One gets carried away by glamour, and personality, and
magnetism — they’re beastly treacherous things.
TOM: You are wonderful.
BUNTY; Don’t be silly.
Tom: You're so cool and clear, and you see everything.
BUNTY: I’m sorry — for Nicky.
TOM: Oh, damn Nicky!
BUNTY (laughing): Oh, Tom!
Tom: Why, what's up?
BUNTY: You're so dead set.
TOM: You're worth ten of him any day. What’s the use of a chap
like that? He doesn’t do anything except play the piano -~ he
can’t play any games, he’s always trying to be funny—

48
 THE VORTEX ACT II

BUNTY: Shut up, Tom, you're being rather cheap; I haven't

reverted to type so quickly that I can’t see some of the things
I'm missing.
Tom: I wish I knew what you were talking about.
BUNTY: Oh, God! I feel so miserable!
She bursts into tears.
TOM (flummoxed): I say - Bunty — for Heaven's sake —
He puts his arms round her.
BUNTY (shaking him off): Don’t, don’t ~ give me my shoes—
He picks up her shoes; she puts them on. She is half sobbing all the
time.
Tom: I say, old girl, hadn’t you better go to bed? You're all
wrought up!
BUNTY: He said beastly things.
Tom: I'll wring his neck.
BUNTY (with a fresh burst of tears): Shut up, Tom, shut up —
Tom: Bunty, stop crying ~- there’s a dear ~ please, please stop
crying—
He takes her in his arms and kisses her, she is groping
for her
handkerchief. FLORENCE comes quietly downstairs.
BUNTY: I can’t find my hanky!
TOM: Here’s mine.
FLORENCE (like a pistol shot): Tom!
TOM and BUNTY break away.
ToM: Yes, Florence?
FLORENCE (ominously): What does this mean?
tom: I’m sorry, Florence — I —
FLORENCE: You utter cad!
BUNTY: Look here — I should like to say —
FLORENCE: Be quiet - mind your own business.
NICKY enters.
NICKY (seeing tears on sunTyY’s face): What's the matter ~ is
anybody hurt?
FLORENCE (ominously): No, not hurt!
BUNTY: I banged my hand, that’s all.
FLORENCE: Liar!

49
ACT If THE VORTEX

NicKy: Mother — don’t be so stupid—

Tom: Florence — I—
FLORENCE: Don’t speak to me —
NICKY (quietly): Mother — not now — not now - it’s all wrong —
control yourself! Bunty —- Bunty — do go to bed ~ please.
He goes to the piano and begins to play jazz.
BUNTY: All right - Tom—
FLORENCE goes to the fireplace, trembling with rage, NICKY goes on
playing. rom and BuNTY go towards the stairs.
FLORENCE: Stop — I want an explanation, please!
BUNTY: How dare you speak to me like that?
FLORENCE: Get out of my house! Get out of my house!
BUNTY: This is disgusting!
Tom: I say, Florence —
FLORENCE: Get out of my house!
BUNTY: I shall leave the first thing in the morning, it’s much too
late to-night.
She goes off.
NICKY never stops playing for a moment.
FLORENCE: Tom. (He goes towards her absolutely silent.) You kissed
her — you kissed her — I saw you —!
TOM: Yes.
FLORENCE: In this house!
TOM: Yes, Florence, I apologise.
FLORENCE: Apologise! You’re beneath contempt — never speak
to me again, never touch me again — I hate you!
Tom: Look here, Florence — I’m desperately sorry ~ you see, I’m
afraid I love her.
FLORENCE (hysterically): You dare to stand there and say that to
me? It’s incredible ~ after all I've done for you — after all we've
been to one another. Love! You don’t know what it means.
You've lied to me — all these months. It’s contemptible -
humiliating. Get out of my sight!
TOM (turning and going upstairs): Very well.
FLORENCE (suddenly realising that he is gone): Tom — Tom — come
back ~ come back —!
 THE VORTEX ACT I

She runs upstairs after him. nicky at last stops playing and lets his
hands drop from the keys.

CURTAIN

51
 ACT HI

The scene is FLORENCE’S bedroom the same night — about two

hours have elapsed. When the curtain rises FLORENCE is lying
face downwards on the bed, she is dressed in a very beautiful but
slightly exotic négligé.
HELEN is standing by the window fully dressed, she is holding
the curtain aside, and a bar of moonlight comes in to mingle with
the amber of the dressing-table lights. FLORENCE is obviously
extremely hysterical.

HELEN: Florence, what is the use of going on like that?

FLORENCE: I wish I were dead!
HELEN: It’s so cowardly to give way utterly — as you're doing.
FLORENCE: I don’t care — I don’t care!
HBLEN: If you don’t face things in this world, they only hit you
much harder in the end.
FLORENCE: He loved me — he adored me!
HELEN: Never! He hadn't got it in him.
FLORENCE: After all I've done for him, to go to — to Bunty!
HELEN (leaving the window): If it hadn't been Bunty it would have
been someone else —- don’t you see how inevitable it was?
FLORENCE: How dared they! — Here! — In this house!
HELEN: That’s a little thing, it doesn’t matter at all.
FLORENCE: It does — it does —
HELEN: Florence, sit up and pull yourself together.
FLORENCE (sitting up slowly): I think I’m going mad.
HELEN: Not a bit of it, you’re just thoroughly hysterical.
FLORENCE: Give me some water.
HELEN goes to the bathroom and returns with a glass of water.
FLORENCE (taking it): What time is it?
HELEN (looking at her watch): Ten-past one.
FLORENCE: Don't go to London by the early train, Helen; stay
and come up with me in the car.

52,
 THE VORTEX ACT III

HBLEN: Very well.

FLORENCE: Thank God, you were here!
HELEN: I wish I'd known what was happening, I might have
done something.
FLORENCE: What can I do to get him back?
HELEN: Don't be silly.
FLORENCE: What can I do — what can I do—?
HELEN: Do you mean to say you'd take him back after to-night?
FLORENCE; No, never. Not if he crawled to me — never—
HELEN: Well, then, make up your mind definitely never to see
him again whatever happens.
FLORENCE: Yes ~ I will.
HELEN: Why don’t you go to bed now?
FLORENCE: I couldn’t sleep.
HELEN: Put it all out of your mind — make an effort.
FLORENCE: | can’t ~ I'm too unhappy.
HELEN: Think of Nicky.
FLORENCE: Nicky’s young.
HELEN: That doesn’t make it any better for him.
FLORENCE: He'll get over it in the long run.
HELEN: The long run never counts at the moment.
FLORENCE: He wasn’t in love — really?
HELEN: As much as either you or he are capable of it.
FLORENCE: He’s well rid of her — she’d never have appreciated
him properly — she hasn’t the intelligence.
HELEN: | don’t agree with you there — she’s got intelligence right
enough.
FLORENCE: Treacherous little beast!
HELEN: Yes, but far-seeing.
FLORENCE: Are you standing up for her? Do you think it was
right of her to get Tom away from me?
HELEN: Yes, quite right.
FLORENCE: Helen!
HELEN: To do her justice, she didn’t deliberately set herself out
to get him away from you at all. She discovered that in spite of
the somewhat decadent years Tom was still her type, and
likely to remain so. So with common sense she decided to
shelve Nicky forthwith and go for him.

53
ACT HI THE VORTEX

FLORENCE: Her type indeed!

HELEN: Yes, she’d have been quite a nice girl really if she’d been
left alone and not allowed to go to Paris and get into the
wrong set.
FLORENCE: You are extraordinary, Helen. Do you realise that
you're making excuses for the girl who’s betrayed your best
friend?
HELEN: Don’t be so utterly absurd — I'm not making excuses,
and anyhow she hasn’t betrayed you. She hardly knows you in
the first place, and she’s just followed her instincts regardless
of anyone else’s feelings — as you’ve done thousands of times.
FLORENCE: Helen — you're being horrible to me!
HELEN: I'm not, I'm trying to make you see! You're battering
your head against silly cast-iron delusions, and I want to
dislodge them.
FLORENCE: Helen, I'm so unhappy — so desperately unhappy.
HELEN: Yes, but not because you've lost Tom, it’s something far
deeper than that.
FLORENCE: What then?
HELEN: You're on the wrong tack, and have been for years.
FLORENCE: | don’t understand.
HELEN: You won’t understand!
FLORENCE gets off the bed and goes over to the dressing-table. She
sits and stares at herself
in theglass for a moment without speaking.
FLORENCE: My eyes are sore. (She powders her face and sprays a little
scent on her hair.) It’s so lovely this — and so refreshing.
HELEN: I think I'll go to bed now.
FLORENCE: No, wait a little longer with me — please, Helen ~ just
a few minutes.
HELEN: It’s so hot in here.
FLORENCE: Open the window, then.
HELEN: All right.
She goes to the window and opens it. FLORENCE takes a cigarette out
of a box and then shakes a scent-bottle and rubs the cigarette lightly
with the stopper.
FLORENCE: Do you ever do this? It’s divine.
HELEN: What a wonderfully clear night — you can see the hills
right across the valley —- the moon’s quite strong.

54
 THB VORTEX ACT It

FLORENCE goes to the window and stands next to HELEN looking

out ~ she is puffing her cigarette.
FLORENCE: I chose this room in the first place because the view
was so lovely.
HELEN: Do you ever look at it?
FLORENCE (listlessly): Of course I do, often!
HELEN: It’s been raining ~ 1 wish you’d throw away that
cigarette ~ it spoils the freshness.
FLORENCE (turning away): It’s soothing me — calming my nerves.
HELEN: I do wish I could help you ~really.
FLORENCE: You are helping me, darling — you're being an angel.
HELEN (suddenly angry): Don’t talk so emptily, Florence, I’m
worth more than that.
FLORENCE: I don't know what you mean.
HELEN: It sickens me to see you getting back so soon.
FLORENCE: Getting back?
HELEN: Yes, to your usual worthless attitude of mind.
FLORENCE: Helen!
HELEN: A little while ago you were really suffering for once, and
in a way I was glad because it showed you were capable of a
genuine emotion. Now you're glossing it over — smarming it
down with your returning vanity, soon you won’t be unhappy
any more ~ just vindictive.
FLORENCE: Don’t go on at me like that — I’m too wretched,
HELEN (going to her): Florence dear, forgive me, but it’s true -
and I don’t want it to be.
The door opens and nicky enters. He is in dressing-gown and
pyjamas. His face looks strained and white.
FLORENCE: Nicky!
Nicky: Helen, I want to talk to mother, please.
HELEN: All right, Nicky.
FLORENCE: What is it?
NIcKY: I couldn't sleep.
HELEN: Florence dear — good night.
FLORENCE: No — no, Helen — don’t go yet—
HELEN: I must.
FLORENCE: Helen — stay with me. .
nicky: Please go.

55
ACT Ht THE VORTEX

HELEN: I can’t stay, Florence — it’s quite impossible.

She goes out.
FLORENCE: I don’t know what you mean — by coming here and
ordering Helen out of my room.
nicky: I’m sorry, mother. I felt I had to talk to you alone.
FLORENCE: At this hour of the night — you’re mad!
nicky: No, I’m not, I think I'm probably more unhappy than
I've ever been in my life.
FLORENCE: You're young — you'll get over it.
NICKY: I hope so.
FLORENCE: I knew the first moment I saw her — what sort of a
girl she was.
Nicky: Oh, mother!
FLORENCE: It’s true. I had an instinct about her.
nicky: It’s all been rathera shock, you know —
FLORENCE (becoming motherly): Yes, dear — I know — I know — but
you mustn’t be miserable about her — she isn’t worth it. (She
goes to kiss him.)
NICKY (gently pushing her away): Don't, mother!
FLORENCE: Listen, Nicky — go back to bed now — there’s a dear —
my head’s splitting.
NICKY: I can't yet.
FLORENCE: Take some aspirin ~ that'll calm your nerves.
NICKY: I'm afraid I'm alittle beyond aspirin.
FLORENCE: | don’t want you to think I don’t sympathise with
you, darling - my heart aches for you — I know so well what
you're going through.
NICKY: Do you?
FLORENCE: It’s agony — absolute agony — but, you see — it will
wear off — it always does in time. (Nicky doesn’t answer.) Nicky,
please go now!
NICKY: I want to talk to you.
FLORENCE: To-morrow — we'll talk to-morrow.
NICKY: No, now — now!
FLORENCE: You're inconsiderate and cruel — I've told you my
head's bursting.
NICKY: I want to sympathise with you, too - and try to
understand everything — as well as 1 can—

56
 THE VORTEX ACT Ill

FLORENCE: Understand everything?

NICKY: Yes, please.
FLORENCE: | don’t know what you mean —
Nicky: Will you tell me things — as though I were somebody
quite different?
FLORENCE: What kind of things?
NICKY: Things about you — your life.
FLORENCE: Really, Nicky — you're ridiculous — asking me to tell
you stories at this hour!
NICKY (with dead vehemence): Mother - sit down quietly. I’m not
going out of this room until I’ve got everything straight in my
mind.
FLORENCE (sinking down — almost hypnotised): Nicky — please — I —
NicKy: Tom Veryan has been your lover, hasn’t he?
FLORENCE (almost shrieking): Nicky —- how dare you!
NICKY: Keep calm — it’s our only chance ~ keep calm.
FLORENCE (bursting into tears): How dare you speak to me like
that — suggest such a thing - 1 —
NICKY: It’s true, isn’t it?
FLORENCE: Go away ~— go away!
NICRY: It’s true, isn’t it?
FLORENCE: No — no!
Nicky: It’s true, isn't it?
FLORENCE: No - I tell you — no — no ~ no!
NICcKY: You're lying to me, mother. What's the use of that?
FLORENCE: You're mad — mad —
Nicky: Does father know?
FLORENCE: Go away!
NICKy: Does father know?
FLORENCE: Your father knows nothing ~ he doesn’t understand
me any more than you do.
Nicky: Then it’s between us alone.
FLORENCE: Itell you I don’t know what you're talking about.
Nicky: Mother — don’t go on like that, it’s useless — we've
arrived at a crisis, wherever we go — whatever we do we can’t
escape from it. I know we're neither of us very strong-minded
or capable, and we haven’t much hope of coming through
successfully — but let’s try — it’s no good pretending any more

57
ACT HI THE VORTEX —

— our lives are built up of pretences all the time. For years —
ever since I began to think at all, I've been bolstering up my
illusions about you. People have made remarks not realising
that I was your son, and I’ve pretended that they were inspired
by cattiness and jealousy. I've noticed things — trivial
incriminating little incidents, and I've brushed them aside and
not thought any more about them because you were my
mother — clever and beautiful and successful — and naturally
people would slander you because you were so beautiful — and
now I know — they were right!
FLORENCE: Nicky — I implore you — go away now - leave me
alone.
NICcKY: No, I can't.
FLORENCE: You're cruel - cruel to torment me —
nicky: I don’t want to be cruel—
FLORENCE: Go to bed then, and we'll talk everything over
quietly another time.
NICKY: It is true about Tom Veryan, isn’t it?
FLORENCE: No. No —
NICKY: We're on awfully dangerous ground — I’m straining every
nerve to keep myself under control. If you lie to me and try to
evade me any more — I won't be answerable for what might
happen.
FLORENCE (dropping her voice — terrified): What do you mean?
NIckr: I don’t know — I'm frightened.
FLORENCE: Nicky — darling Nicky — I —
She approaches him.
NICKY: Don't touch me, please.
FLORENCE: Have alittle pity for me.
NICKy: Was Tom Veryan your lover?
FLORENCE (in a whisper): Yes.
NICKY: I want to understand why —
FLORENCE: He loved me.
NICKY: But you — did you love him?
FLORENCE: Yes.
NICKY: It was something you couldn’t help, wasn’t it ~ some-
thing that’s always been the same in you since you were quite,
quite young —?

58
 THE VORTEX ACT Ill

FLORENCE: Yes, Nicky - yes —

NIcKy: And there have been others, too, haven’t there?
FLORENCE (with her face in her hands): I won't be cross-questioned
any more — I won't - I won’t —
Nicky: I wish you'd understand I’m not blaming you - I'm trying
to help you — to help us both —
FLORENCE: What good can all this possibly do?
Nicky: Clear things up, of course. I can’t go on any more half
knowing —
FLORENCE: Why should that side of my life be any concern of
yours?
NICKY: But, mother!
FLORENCE: I’m different from other women —- completely
different — and you expect me to be the same — why can’t you
realise that with a temperament like mine it’s impossible to
live an ordinary humdrum life — you’re not a boy any longer —
you're a man — and—
NIcKyY: I’m nothing — I've grown up all wrong.
FLORENCE: It’s not my fault.
NICKY: Of course it’s your fault, mother — who else’s fault could it
be?
FLORENCE: Your friends — the people you mix with —
NICKY: It wouldn’t matter who I mixed with if only I had a
background.
FLORENCE: You've got as much money as you want — you've
got your home —
NICKY (bitterly): Home! That’s almost funny — there’s no peace
anywhere - nothing but the ceaseless din of trying to be
amused —
FLORENCE: David never complains.
NicKrY: I don’t suppose you've looked at father during the last
few years — or you wouldn’t say that.
FLORENCE: He’s perfectly happy because he’s sensible — he lives
his own life and doesn’t try to interfere with mine.
NICKY: It must be your vanity that makes you so dreadfully blind
— and foolish.
FLORENCE: Understand once and for all, I won’t be spoken to like
this —

59
ACT IIr THE VORTEX

Nicky: You've had other lovers besides Tom Veryan — haven't

‘ou? .
ripen Yes, I have — I have. Now then!
nicky: Well, anyhow - that’s the truth — at last —
He rises, turns hisback on her and stands looking out of the window.
FLORENCE (after a pause — going to him): Nicky — don’t be angry —
please don’t be angry with me.
Nicky: I'm not angry a bit — I realise that I’m living in a world
where things like this happen — and they've got to be faced
and given the right value. If only I'd had the courage to realise
everything before — it wouldn’t be so bad now - it’s the
sudden shock that’s thrown the whole thing out of focus for
me — but I mean to get it right — please help me!
FLORENCE (dully): 1 don’t know what to do.
Nicky: It’s your life, and you've lived it as you’ve wanted to live
it — that’s fair —
FLORENCE: Yes — yes.
NICKy: You’ve wanted love always — passionate love, because
you were made like that — it’s not your fault — it’s the fault of
circumstances and civilisation — civilisation makes rottenness
so much easier — we're utterly rotten — both of us —
FLORENCE: Nicky — don’t — don’t—
NICKY: How can we help ourselves? — We swirl about in a vortex
of beastliness — this is a chance — don’t you see — to realise the
truth — our only chance.
FLORENCE: Oh, Nicky, do stop — go away!
Nicky: Don’t keep on telling me to stop when our only hope is
to hammer it out.
FLORENCE: You're overwrought — it isn’t as bad as you think.
NICKY: Isn't it?
FLORENCE: No, no. Of course it isn’t. To-morrow morning
you'll see things quite differently.
NICKY: You haven't understood.
FLORENCE: Yes, | have — I have.
NICKY: You haven't understood. Oh, my God, you haven't
understood! You're building up silly defences in your mind.
I'm overwrought. To-morrow morningI shall see things quite
differently. That’s true — that’s the tragedy of it, and you won't

60
 THE VORTEX ACT Hil

see —- To-morrow morning I shall see things differently. All this

will seem unreal - a nightmare — the machinery of our lives
will go on again and gloss over the truth as it always does -
and our chance will be gone for ever.
FLORENCE: Chance ~ chance? What are you talking about — what
chance?
Nicky: I must make you see somehow.
FLORENCE: You're driving me mad.
Nicky: Have patience with me - please ~ please—
FLORENCE (wildly): How can I have patience with you? ~- You
exaggerate everything.
nicky: No I don’t - I wish I did.
FLORENCE: Listen — let me explain something to you.
NICKy: Very well — go on.
FLORENCE: You're setting yourself up in judgment on me - your
own mother.
nicky: No, I’m not.
FLORENCE: You are — you are — let me speak — you don’t
understand my temperament in the least —- nobody does — I --
Nicky: You're deceiving yourself ~ your temperament’s no
different from thousands of other women, but you've been
weak and selfish and given way all along the line —
FLORENCE: Let me speak, I tell you —!
NICKY: What's the use — you're still pretending — you're building
up barriers between us instead of helping me to break them
down.
FLORENCE: What are you accusing me of having done?
NICKY: Can't you see yet?
FLORENCE: No, I can’t. If you're preaching morality you've no
right to - that’s my affair - I've never done any harm to
anyone.
Nicky: Look at me.
FLORENCE: Why — what do you mean?
nicky: You've given me nothing all my life — nothing that counts.
FLORENCE: Now you're pitying yourself.
nicky: Yes, with every reason.
FLORENCE: You're neurotic and ridiculous — just because Bunty

61
ACT Iti THE VORTEX

broke off your engagement you come and say wicked, cruel
things [Link] —
nicky: You forget what I've seen to-night, mother.
FLORENCE: I don’t care what you've seen.
Nicky: I’ve seen you make a vuigar, disgusting scene in your
own house, and on top of that humiliate yourself before a boy
half your age. The misery of losing Bunty faded away when
that happened —- everything is comparative after all.
FLORENCE: I didn’t humiliate myself — ;
nicky: You ran after him up the stairs because your vanity
wouldn’t let you lose him — it isn’t that you love him — that
would be easier — you never love anyone, you only love them
loving you — all your so-called passion and temperament is
false - your whole existence had degenerated into an endless
empty craving for admiration and flattery - and then you say
you've done no harm to anybody — Father used to be a clever
man, with a strong will and a capacity for enjoying everything
~ I can remember him like that, and now he’s nothing - a
complete nonentity because his spirit’s crushed. How could it
be otherwise? You've let him down consistently for years —
and God knows I’m nothing for him to look forward to — but I
might have been if it hadn’t been for you —
FLORENCE: Don’t talk like that. Don’t — don’t — it can’t be such a
crime being loved — it can’t be such a crime being happy—
Nicky: You're not happy - you're never happy — you're fighting
— fighting all the time to keep your youth and your looks —
because you can’t bear the thought of living without them — as
though they mattered in the end.
FLORENCE (hysterically): What does anything matter — ever?
NICKY: That's what I’m trying to find out.
FLORENCE: I'm still young inside — I’m still beautiful — why
shouldn't I live my life as 1 choose?
NICKY: You're not young or beautiful; I’m seeing for the first
time how old you are ~it’s horrible — your silly fair hair — and
your face all plastered and painted—
FLORENCE: Nicky — Nicky — stop — stop — stop!
She flings herself face downwards on the bed. NicKY goes over to her.
NICKy: Mother!

62
 THE VORTBX ACT itl

FLORENCE: Go away — go away — I hate you — go away —

NICKY: Mother - sit up—
FLORENCE (pulling herself together): Go out of my room—
NICKY: Mother—
FLORENCE: | don’t ever want to see you again — you're insane —
you've said wicked, wicked things to me — you've talked to me
as though I were a woman off the streets. I can’t bear any
more — J can’t bear any more!
nicky: I have a slight confession to make —
FLORENCE: Confession?
NICKY: Yes.
FLORENCE: Go away — go away —
NICKY (taking a small gold box from his pocket): Look—
FLORENCE: What do you mean ~ what is it —?
Nicky: Don’t you know?
FLORENCE takes the box with trembling fingers and opens it. She
stares at itfor a moment. When she speaks again her voice is quite
dead.
FLORENCE: Nicky, it isn’t — you haven’t —?
Nicky: Why do you look so shocked?
FLORENCE (dully): Oh, my God!
NICKY: What does it matter?
FLORENCE suddenly rises and hurls the box out of the window.
That doesn’t make it any better.
FLORENCE (flinging herself on her knees beside him): Nicky, promise
me, oh, promise you'll never do it again — never in your life -
it’s frightful — horrible —
NICKY: It’s only just the beginning.
FLORENCE: What can I say to you — what can I say to you?
nicky: Nothing — under the circumstances.
FLORENCE: What do you mean?
NICKY: It can’t possibly matter — now.
FLORENCE: Matter — but it’s the finish of everything — you're
young, you're just starting on your life - you must stop — you
must swear never to touch it again — swear to me on your
oath, Nicky - I'll help you —- I'll help you —
NICKY: You!

63
ACT II THE VORTEX |

He turns away.
FLORENCE (burying her face in her hands and moaning): Oh - oh -
oh!
NICKY: How could you possibly help me?
FLORENCE (clutching him): Nicky!
NICKY (almost losing control): Shut up — shut up — don’t touch
me —
FLORENCE (trying to take him in her arms): Nicky — Nicky—
NICKY: I'm trying to control myself, but you won't let me -
you're an awfully rotten woman, really.
FLORENCE: Nicky — stop — stop — stop —
She beats him with her fists.
NICKY: Leave go of me!
He breaks away from her, and going up to the dressing-table he
sweeps everything off on to the floor with his ann.
FLORENCE (screaming): Oh — oh — Nicky —!
nicky: Now then! Now then! You're not to have any more
lovers; you're not going to be beautiful and successful ever
again ~ you're going to be my mother for once - it’s about
time I had one to help me, before I go over the edge
altogether —
FLORENCE: Nicky ~ Nicky—
NICKY: Promise me to be different — you've got to promise me!
FLORENCE (sinking on to the end of couch, facing audience): Yes — yes
— I promise — (The tears are running down her face.)
NICKyY: I love you, really — that’s why it’s so awful.
He falls on hisknees by herside and buries his face in herlap.
FLORENCE: No. No, not awful — don’t say that ~ I love you, too.
NICKY (sobbing hopelessly): Oh, mother —!
FLORENCE (staring in front of her): 1 wish I were dead!
NICKY: It doesn’t matter about death, but it matters terribly
about life.
FLORENCE: I know —
NICKY (desperately): Promise me you'll be different— promise me
you'll be different —
FLORENCE: Yes, yes — I'll try —
Nicky: We'll both try.

64
 THE VORTEX ACT Ill

FLORENCE: Yes, dear. ~ Oh, my dear —!

She sits quite still, staring in front ofher — the tears are rolling down
her cheeks, and she is stroking Nicky's hair mechanically in an
effort to calm him.

CURTAIN

65
 If you enjoy the work of “The Master’, why not join
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anniversary of Coward’s birthday at the Theatre Royal,
Drury Lane to see flowers laid on his statue by
a star such as Sir John Mills, Alan Rickman or
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places of interest and celebrity meals.
Members receive a free copy of our regular colour
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Noél Coward
THE VORTEX
A’storm is brewing that threatens to engulf the
Lancaster family. Returning from Paris, Nicky discovers
that his glamorous socialite mother, Florence, has taken
a lover half her age. While Nicky battles with the
conflicting emotions that this behaviour arouses,
Flarence is horrified by her son's equally devastating
revelation. _

THE VORTEX caused a sensation when it premiered on

the London stage in 1924, and created a star out of its
playwright and leading actor, Noél Coward. As an
unflinching exposé of the hedonistic social élite, it retains
its force as a provocatively modern drama.

This edition includes a chronology and an introduction

by Sheridan Morley.

Image: Bob Hollingsworth