Private Lives

At Monifieth Theatre, Noël Coward’s Private Lives was brought to life with charm, elegance, and flashes of real theatrical sparkle particularly in its central performances.

Coward’s celebrated comedy follows divorced couple Elyot and Amanda, who, while honeymooning with their new spouses Sibyl and Victor, unexpectedly find themselves in adjacent hotel rooms. Old passions reignite, and the pair impulsively run off together, only to discover that their fiery relationship is as volatile as ever. What unfolds is a razor-sharp exploration of love, ego, and the irresistible pull of the past.

From the outset, the production benefited from a simple yet highly effective set design, which neatly framed the action without distraction. Its clean lines and thoughtful staging allowed the language and performances to take centre stage—exactly where Coward’s work thrives. Complementing this, the costumes thoughtfully reflected the period, helping to firmly establish both the timing and social setting of the piece, and adding an extra layer of authenticity to the production.

Under the direction of Iona Wood, with Assistant Director Kiarra Fenemore, the production clearly embraced the challenges of Coward’s fast-paced, dialogue-heavy style. Together, they rose to the demands of the piece, shaping a production that, at its best, captured both the sophistication and bite of the text.

At the heart of the piece, Euan Smith as Elyot and Shelagh Phillips-Robertson as Amanda delivered performances that truly understood the rhythm and wit of Coward’s writing. Their chemistry was palpable, and crucially, they maintained the pace that this fast-moving, dialogue-driven play demands. Their exchanges sparkled with energy, biting humour, and just the right hint of danger, capturing both the glamour and dysfunction of the central relationship.

In contrast, while the supporting roles of Sibyl and Victor are integral to the balance of the piece, the overall momentum occasionally faltered. However, Smith and Phillips-Robertson worked admirably to keep the production on track, ensuring that the core of the story remained engaging and alive.

A particular highlight came from Anne Rendall as Louise, the French maid. Though a relatively small role in the context of the play, Rendall made every moment count. Her performance was bright, engaging, and entirely convincing, adding a delightful layer of comic texture and providing some of the evening’s most memorable moments.

Ultimately, this production of Private Lives shone brightest when leaning into its strengths: a strong central pairing, a clear understanding of Coward’s wit, and design elements that supported rather than overshadowed. When at its best, it captured the elegance and sharp humour that define Coward’s work - and reminded the audience just how intoxicating (and chaotic) love can be.

© NODA CIO. All rights reserved.