Review: PRIVATE LIVES at Alley Theatre

When divorced couple Elyot and Amanda accidentally find themselves honeymooning with their new spouses—and sharing adjacent balconies—sparks fly and tempers flare in a whirlwind of passion and humor. Director KJ Sanchez brings a fresh twist to Noël Coward’s timeless comedy, transporting us from 1930s Argentina to Uruguay.

First off, I’m a big fan of Coward and have a special place in my heart for this particular show. The Alley’s production is both beautiful and entertaining, full of sardonic one-liners and farcical physicality. I especially appreciated the South American setting, which makes a sumptuous pairing with the Art Deco movement that was in full swing at the time. Scenic Designer Tanya Orellana’s set draws on the bold geometry of the period and blends it with location-specific accents from indigenous cultures. Combined with a rich, vibrant color palette, the effect is utterly transportive. I do wish the balcony set from Act I had extended a bit more onto the stage's apron, closer to the audience, but the lush apartment setting for Acts II and III more than made up for it.

Costumes by David Arevalo and Lighting Design by Carolina Ortiz Herrera only add to the show’s sense of decadent fun. A spectacular fight scene (no spoilers!) at the end of Act II, and bursts of tango dancing throughout bring an added layer of physicality and rhythm to the twists and turns of Coward’s indulgent prose.

Amanda and Elyot are played to absolute perfection by Melissa Molano and Hugo E. Carbajal. Whether kissing or screaming, their chemistry ignites the stage. Molano navigates Amanda’s mercurial moods with ease, veering from affectionate to explosive, and hearing her sing is a pure delight. Carbajal’s physical comedy is on full and ever-expanding display, and he fills the script’s quieter moments with hilarious, well-timed bits.

As foils to their exes, Briana J. Resa (Sibyl) and Orlando Arriaga (Victor) have to run a wide emotional gamut, from adoration to detestation, which is a tall order. Both actors handle this beautifully, with such a subtle build that the Act II climax lands as a genuine surprise.

One directorial choice I found intriguing was casting actors who looked similar to each other, and seemed to all be around the same age. It didn’t detract from my enjoyment, but it was puzzling. Perhaps Amanda and Elyot, in remarrying, subconsciously sought out partners who mirrored one another, as a kind of romantic do-over? That said, it still feels like Sibyl should be younger than Elyot, and Victor either older or younger than Amanda. Amanda’s dialogue suggests a more world-weary, seasoned soul—something that occasionally clashed with Molano’s youthful energy, though never enough to diminish her outstanding performance.

The tango plays a rich, unspoken role in the production, and I thought its inclusion was a brilliant touch. Not only is it true to the setting, but it also perfectly captures the passionate, melancholic, and intimate emotional undercurrents of the play. As dance partners rotate pair by pair, we witness the exotic push and pull that defines each relationship. I wish this wonderful production a successful and invigorating run.

Houston Awards - Live Stats

Best Musical - Top 3

1. BRIGHT STAR (Spark Theater)

7.6% of votes

2. ROCK OF AGES (Standing Ovation Theatre)

6.3% of votes

3. THE LIGHT IN THE PIAZZA (The Sankofa Collective)

5.7% of votes

Vote Now!