Review: PRIVATE LIVES at The Arctic Playhouse
This entertaining production runs through May 3rd
According to Frank Sinatra, love and marriage go together like a horse and carriage. But is love reason enough to get married? And do two people in love necessarily belong together for as long as they both shall live?
Arctic Playhouse’s remarkably stylish, extraordinarily well-acted production of Noël Coward’s 1930 farce, ‘Private Lives,’ pokes fun at the idea of marriage as little more than a social construct while speculating whether a toxic relationship is conceivably better than one without any passion whatsoever.
Newlyweds Elyot (Ryan Vigneau) and Sybil (Stephanie Rose Witz) are celebrating their honeymoon at a luxurious seaside hotel in France. As the two converse on the balcony of their suite, the subject turns to Elyot’s first wife, Amanda (Lydia Kapp). Little do they know that Amanda is also on her honeymoon at the same hotel with her new husband, Victor (Jay Burns).
When Elyot and Amanda first spot each other and learn that both are there for the same reason, they share a cocktail and make idle pleasantries, only to soon discover–as if it weren’t already obvious–that the fire between them never really went out. When their efforts to escape with their latest spouses fail, Elyot and Amanda decide to run off together, and the ensuing high jinks are hilarious and calamitous.
‘Private Lives’ is fittingly described as a “comedy of manners,” because despite the abominable behavior of its two narcissistic protagonists, the execution is cagey and sophisticated, courtesy of the immeasurably witty script–and Richard Griffin’s artful, pointed direction of these fine performers.
Since the play was written almost a century ago, some of the cheeky language is arguably objectionable (“certain women should be struck regularly, like gongs”), and select scenes could be shortened (like the chatty second act), yet the majority of the rapidfire dialogue, coupled with the riotous physical comedy, holds up extremely well and effectively demonstrates–amusingly and forebodingly–what we recognize today as the love-hate relationship, where two individuals seemingly cannot live with or without each other.
Not enough can be said about Lloyd Felix’s exceptional set design, beginning with simple, attractive adjoining hotel balconies that wondrously transform into Amanda’s Paris flat, where every single item on display exudes wealth, class, and privilege. The same holds true of Nancy Spirito’s snazzy costumes. Elyot and Victor’s attire is suave and stately, and Amanda and Sybil are always the picture of grace and elegance.
Mastery of Coward’s interminable, trademark banter is a triumph unto itself, and the entire ensemble excels at it. Because Sybil is undeniably annoying, it’s hard to truly feel sorry for her, yet Witz’s playfully compromising portrayal evokes some sympathy from the audience (albeit a smidgen). Victor, meanwhile, a quintessential gentleman, has clearly fallen victim to Amanda’s irrefutable allure and is therefore well deserving of our compassion and empathy. Burns’ performance is exemplary, showcasing humility and dignity amidst the ultimate betrayal, while quietly amusing us with his deadpan expressions.
Vigneau cements his leading man status as Elyot, and although his character is not altogether likeable, the actor’s inexhaustible charisma manages to remedy Elyot’s flippant disposition and makes him appear just a little less pretentious. As Amanda, Kapp is criminally charming and her catty, resolute delivery steals the show. Kapp and Vigneau both have impressive stage presence, and their chemistry beautifully illustrates both the enviable and inadvisable attraction they have to each other.
Kudos to Leslie Racine Martin as Louise, Amanda’s maid, who unfailingly brings down the house with every sentence spoken–in nary a word of English.
Coward’s body of work is too easily shrugged off as rich folks acting badly, but that’s a disservice to his inimitable wit and telling observations of human behavior. The ridiculous situation in ‘Private Lives’ is supposed to make us laugh (and splendidly succeeds at doing so), while the underlying matters of the heart are simply impossible to ignore.
‘Private Lives’ runs through May 3rd at The Arctic Playhouse located at 1249 Main Street in West Warwick, RI. For tickets and information, call 401-573-3443 or visit thearcticplayhouse.com.
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