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Review Roundup: Kim Cattrall and Paul Gross in PRIVATE LIVES - All the Reviews!

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Kim Cattrall stars alongside Paul Gross in Noël Coward's Private Lives, directed by Richard Eyre. The Broadway engagement follows sold-out runs in London and Toronto. The limited engagement runs through February 5, 2012. 

Cattrall, an international star of film, TV and stage, starred as Amanda in Sir Richard Eyre's production of Private Lives at London's Vaudeville Theatre in 2010 and Toronto's Royal Alexandra Theatre prior to Broadway. She made her Broadway debut in Wild Honey with Sir Ian McKellen. Cattrall is joined by Paul Gross in the role of Elyot. One of Canada's most acclaimed actors, Gross starred in such TV shows as Due South and Slings and Arrows. The cast is completed by Simon Paisley Day, Anna Madeley and Caroline Lena Olsson.

Considered one of the greatest comedies ever written, Noël Coward's Private Lives premiered in London in 1930 and has been produced around the world ever since; it premiered on Broadway in 1931. Glamorous, rich and reckless, Amanda (Cattrall) and Elyot (Gross) have been divorced from each other for five years. Now both are honeymooning with their new spouses in the South of France. When, by chance, they meet again across adjoining hotel balconies, their insatiable feelings for each other are immediately rekindled. They hurl themselves headlong into love and lust without a care for scandal, new partners or memories of what drove them apart in the first place...for a little while, anyway.

The design team is Rob Howell (set and costumes) and David Howe (lighting). Private Lives is produced by Duncan C. Weldon, Paul Elliott, Theatre Royal Bath, Terri and Timothy Childs, Sonia Friedman Productions, Bill Ballard and David Mirvish. Tonight, November 17, marks the opening night for Private Lives. What did the critics think of the show? Find out below!

Ben Brantley, The New York Times: The show mostly steers clear of sourness because of our awareness of a redeeming self-consciousness in Amanda and Elyot. Even when these two are going at it hammer and tongs, you have the sense of their watching themselves, on some level, and being elegantly amused by their inelegant behavior. In this version of Coward's soignée world, pratfalls are at least as important as poses.

David Rooney, The Hollywood Reporter: Cattrall reaffirms her considerable talent. Her Amanda has emotional nuance, vulnerability and odd, unexpectedly humanizing glimmers of a common touch beneath the cultivated veneer of exquisite boredom and petulance...Canadian actor Gross is every bit Cattrall's equal.

Elysa Gardner, USA Today: It helps that esteemed director Richard Eyre applies a light, sure hand, and the actors show a similar ease and dexterity. Cattrall's Amanda is adorably feminine, with a breezy, un-self-conscious energy that mitigates the character's narcissism. As the equally narcissistic Elyot, Canadian actor Paul Gross is less endearing but just as entertaining.

Mark Kennedy, Associated Press: Director Richard Eyre and the cast succeed in a tricky balancing act for a play written in 1930: Keep the humor, but lose much of the affected, mannered performances - all those "darlings" and "splendids" and Coward bon mots - that often make his plays seem frothy and insubstantial. The result, which opened Thursday at the Music Box Theatre, is funny and insightful in its attempt to reconcile the notion of marriage and sexual attraction, and yet also doesn't shy away from exploring the link between lust and violence.

Matt Windman, amNY: Richard Eyre's production largely fails to land even the easy laughs. While the first act - in which Amanda and Elyot rekindle their attraction - is still cute, the remainder of the play comes off as stale...Gross makes for a handsome and genuinely suave Elyot, and he has some great moments with Simon Paisley Day and Anna Madeley, who give fully dimensioned performances as Amanda and Elyot's nice but boring new spouses.

Jeremy Gerard, Bloomberg: Cattrall, an experienced stage actress, is easier to admire than adore as Amanda...until, that is, she starts to bellow like a shrew, which is all too often, given the explosive nature of Amanda and Elyot's love. The sophistication yields to coarseness. Quite the same is true of Gross, who never manages the suavity Elyot must wear like a dinner jacket if his easy brutishness is to be at all tolerable.

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