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“She was the most wonderful lady I’ve ever met,” he said.Ī romance between the pair quickly blossomed and they got married in 2002, when Kevin was 15 years old.
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Her husband, Bill Kyne, had first met her years earlier at the nail salon she ran with her twin sister. Kevin Kyne was Diane’s 23-year-old son, who was still living at home and recovering from a recent brain surgery to remove a benign tumor. “They both immediately accused each other as being the killer,” Pinellas County Sheriff’s Office homicide detective Jim Beining told “Dateline: Secrets Uncovered” in Thursday’s episode on Oxygen. But both men-her adult son and husband-quickly pointed the finger at the other, leaving investigators baffled about who had really taken her life. But for a moment, the play also turns semi-serious.Diane Kyne died in her Seminole, Florida home, one August afternoon surrounded by two of the men that had been closest to her. The action turns farcical when an ambitious young playwright named Roland Maule (Bhavesh Patel) barges in and refuses to leave until Garry critiques his play. (The drawn-out pauses … the salty line readings … the sly double-takes … the comic cadences - pure heaven!)
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Kristine Nielsen, who plays Garry’s secretary, Monica Reed, constitutes a master class. The lesser-skilled younger actors should study the technique of these veterans and bless their lucky stars for the opportunity to do so. Smulders has a graceful, Cowardian air in the role, and makes Susan Hilferty’s costumes look even more fabulous.ĭirector von Stuelpnagel, who flashed his flair for comedy in “Hand to God,” has assembled a cast of reliable pros who know the drill so well they could pace it out in their sleep. When the show opens, twenty-something Daphne Stillington (Tedra Millan, a looker) is wandering around the living room in a state of dishabille, after spending the night in the spare room better known as the seduction parlor.įor the rest of the play, Garry has to navigate his way through all his visitors - who include his manager, Morris (Reg Rogers), his producer, Henry (Peter Francis James), his ex-wife, Liz (Kate Burton), and current paramour, Joanna ( Cobie Smulders), who’s “a lovely creature, but tricky,” according to Liz. “Everybody worships me, it’s nauseating,” he says, without irony. What makes Garry so endearing is that he never questions himself, but accepts the world’s adulation as his due. His timing on this brief comic turn, by the way, is impeccable.
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Repaying the compliment, Kline makes a meal out of slipping out of one elegant robe and into another. Keeping to the visuals for a moment, costumer Susan Hilferty has furnished the star with some perfectly lovely dressing gowns and smoking jackets, all very appropriate for an age when dressing gowns and smoking jackets were de rigueur for fashionable men who entertained women after dark. Although never ridiculous, he’s genuinely funny, this handsome, narcissistic baby who’s terrified of being alone but complains loudly at the hordes of visitors who descend on the handsome London townhouse so tastefully designed by David Zinn. However chaotic the manic events unfolding in his living room, he automatically pauses to glance at a mirror before leaving the room - a small but significant staging detail that pays off with a terrific sight gag. To begin with, Kline looks the part of Garry Essendine, an aging but still seductive roué who leaves the ladies weak at the knees. Kline relishes the comic challenge in this snazzy production directed by Moritz von Stuelpnagel. “Present Laughter” is a delicious drawing-room comedy that Coward dashed off in 1942 to amuse himself and his friends, while engaging in a bit of sober self-reflection. Whatever would we do without Kevin Kline? In an age of lesser stars, he’s a bona fide matinee idol of the ideal age and with the urbane sensibility to do justice to sophisticated scribes like Noel Coward.