Private Lives

It is sometime since I’ve seen a production of Sir Noel Coward’s classic comedy “Private Lives” which was first performed in 1930 and I wondered if it had stood the test of time, although the play has had many revivals both in the West End and Broadway as well as a number of T V and film productions. It tells the story of two newlywed couples honeymooning in Deauville on the northern coast of France (Elyot and Sibyl Chase, Amanda, and Victor Prynn), Coward wrote these characters as entertaining, vacuous and shallow individuals. However purely by chance the two couples end up in hotel rooms next door to each other with adjoining balconies. This in itself is not a problem, but what should have been a happy time for both couple's takes an unexpected shocking twist for Sibyl and Victor as Elyot and Amanda were once married to each other but divorced after a very tempestuous marriage. Following the shock of seeing each other again they realise they still have strong feelings for each other and selfishly decided to leave their new spouses and run off to Amanda’s apartment in Paris looking to give their relationship a second chance. Unfortunately, they are both narcissistic so as they spend time together again their relationship grows more dysfunctional vitriolic and even physically violent, and they begin to realise just how destructive and toxic they are together which could cause irreparable damage to them both, and they finally remember why they divorced in the first place.

Although Coward is a master of the written word and his plays are very cleverly written, I believe it is thought in some circles due to cultural changes over time that some of his dialogue in this play has not aged well, as it could be interpreted as somewhat misogynistic and abusive for the more modern audience, but this play is true to the time it was written when different values were prevalent. However, it does touch on some radical themes which include religion, morality, and mortality although these subjects are veiled in comedy, very witty one-liners and cutting clever remarks. I believe in some recent professional productions there has been the occasion for some of the more controversial lines to have been modified or omitted. Also, some of the language and words are not used or have a different meaning today, but I have to say it did not seam difficult to understand the meaning or context that these words were used in this script.

Director, Michele Martin and Assistant Director Emma Haslehurst met the challenge to keep the action moving especially during its very wordy second act when Elyot and Amanda are hiding in Amanda’s Paris apartment, where the action centres purely on their relationship which unfortunately has already started to deteriorate and disintegrate as they move between loving intimacy, and both vitriolic verbal arguments and physical fighting. In the original premier production, the roles of Elyot and Amanda were played by Coward himself and his friend Gertrude Lawrence who were both in their 30s at the time. In this production Elyot was played by Mike Yates and Amanda by Sandra Unsworth who were both reprising the roles they played 29 years previously. I did wonder if the casting was emulating the 2021/2023 revival which starred Nigel Havers and Patricia Hodge as Elyot and Amanda, which I found rather interesting as I know there had been some discussion at the time concerning Hodge and Havers age and how it change the dynamics and effected Amanda and Eliot’s sofa antics and altered the suitability of some of the themes and words in the script, but happily the production and the actor's performances did receive a number of very positive reviews. In this production Mike/Elyot and Sandra/Amanda produced good characterisations, they worked hard and coped well when delivering the many brisk witty lines in the manner of the period and their upper class privileged lifestyle. They were believable as a couple, complimenting each other very well and used the stage area to its full advantage. The abandon spouses who also produced entertaining characterisations were Ceri Watkins as the trusting and naive Sibyl Chase and Ted Bullen was the dry and dull Victor Prynn, they also supported Mike and Sandra very well. Then there was Helen Bennett who was a comedic Louise the maid who spoke only in French. Just to be constructive, this play has a very wordy intelligently written funny script containing clever witty retorts, so it is imperative for its success that dialogue can be heard so the story can be followed easily, and the timing of the delivery is important for the comedy to work. However, I personally found it difficult at times to follow some of the dialogue which meant that I missed some of the comedy and I was not sure about some of the physical action and its context and necessity, however I must stress this is a personal observation.

I must congratulate the stage crew for their excellent sets which were dressed in the style of the period, the first set was the outside of the hotel rooms, and the two balconies which was well thought out, so it didn’t restrict the audience’s view of the action on stage. The second set of the main reception room of Amanda’s apartment was very impressive painted and dressed in the Art Deco style popular especially by the upper class of the period, it added authenticity to the play and both sets provided an excellent platform for the actors to work on. Very well done to designers Pete Beswick and Michele Martin, scenic artist Bob Jessamine and the SDC construction team. The production takes a little over two hours, with two breaks when scenes and sets were changed, well done Stage Manager Phyllis Spencer and all the stage crew. There was good technical input, Lighting design and operation was by Syd Coley, Neil Langridge and Michele Martin, while Pete Beswick operated Sound. I really enjoyed the opening credits film which set the scene for the action that followed. Costumes sourced by Michele Martin and Sam Fulstow were exactly right for the characters and the period, the actors certainly looked the part adding authenticity to their roles. A lot of thought by all backstage crew must have gone into getting everything spot on for the period.

Well done to everyone involved in bringing this entertaining lovely looking production to the stage I had forgotten just how intelligent and clever Noel Cowards dialogue can be, thank you very much for inviting me as is usual at SDC I had a lovely evening.

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