Noel Coward’s timeless comedy returns to London in a lavish limited-running production starring Nigel Havers and Patricia Hodge. Guillermo Nazara gives us a sibyl-quibble about the play, to let us know if his attendance was either an exciting experience or, instead, as flat as Norfolk.
We had heaps really, only they slip away into the background, and one only remembers the bad ones. See? Everytime you think I’m a b*tch… you’d probably be right. Moving on then. Or maybe not that much, because nothing says cattiness like the shady words of dramatic master Nöel Coward. He’s back – or at least, his blithe spirit is. And it’s through one of his most beloved comedies, packed with all the elements guaranteed to lift up the human soul: bile, gossip and a whole lot of sassy camp.
Private Lives has made a comeback to the West End stage under the baton of director Christopher Luscombe. Featuring a few more than familiar faces to both stage and screen, this love affair farce has brought back with it the old-fashioned charm of traditional English humour, through the nostalgic laughter of a story that, however, never gets too old. The same applies to Coward’s vivid instinct for dialogue: it very rarely declines – and much throughout the whole plot, it takes the house by storm by making it roar.
Set during the honeymoons of two separate couples, the peace of their new lives is soon to be put at stake when they find out that one of their exes are staying in the hotel room next door. A more than awkward start, it won’t get any better when the two leads (previously married) realise they still have feelings for each other, and decide to elope to give their relationship a second chance… for misery! Hell unravels in the most hilarious of ways, providing us with an endlessly amusing gallery of absurd situations – all of them honed and enriched by the author’s signature reflections on society and their often ridiculous convictions.
With quite well-established pacing (where it will be unusual for the viewers to go silent for longer than one minute), the only slowed down moment comes during the first half of Act Two – where the tension and rhythm seem to be halted for the sake of, nonetheless necessary, character background development. This is compensated, though, by the audience’s reactions themselves, as it’s rather fun to see their double standards in slapstick comedy when it comes to gender.
But the brilliance of the script can be hardly obscured, especially when counting on a cast that make it jump off the page so effortlessly. Nigel Harvers and Patricia Hodge form an unbreakable duo onstage (despite the fate of their roles), perfectly executing and bringing out the spice and flavour of Coward’s subtlety and innuendo. In addition, Natalie Walter gives a highly entertaining rendition as the naïve (and quite brainless) Sibyl, while Dugald Bruce-Lockhart exudes attitude and presence in the more volatile part of Victor.
With an incredibly intricate, sumptuous design by Simon Highlet, this new production of Private Lives crosses every bullet point to make of it a must-see in the Autumn season. Though not my fave by Coward (but then again, what can beat The Vortex) , its craftsmanship and undeniable quality balance out any tiny flaws you may find in its writing, which the montage itself doesn’t have at all. Do come and laugh at and with it, I’m serious.
All pictures credit to Tristram Kenton.
Private Lives plays at London’s Ambassadors Theatre until 25 November. Tickets are available on the following link.