Review: PRIVATE LIVES, New Alexandra Birmingham

One of Noel Coward's most enduring comedies, Private Lives follows the improbable tale of divorced couple Elyot and Amanda, both now re-married to Sybil and Victor respectively, who manage to honeymoon at the same hotel in the South of France, at the same time, and in adjacent rooms. Following a chance and excruciatingly awkward meeting on their neighbouring balconies, old passions are reignited and Elyot and Amanda take the impulsive decision to elope to Paris together.

Their fiery, tumultuous romance picks up right where it left off after five years of divorce; even a code word especially designed to prevent squabbling does not prevent them from fighting and eventually growing sick of one another once more. When Sybil and Victor eventually track down their estranged honeymooners, the two couples cross examine and double bluff until it becomes clear that no one is really certain who they want or love. Coward leaves us on an ambiguous and delightful cliff-hanger; whilst Sybil and Victor continue to argue, Elyot and Amanda share an unnoticed, passionate kiss and sneak out of the apartment hand in hand.

This Ambassador Theatre production of Private Lives is an absolute treat! Tom Attenborough's direction perfectly highlights the improbable and ridiculous circumstances in which Sybil and Victor find themselves, as they both lounge on the balcony railings and embrace their newly wed in exactly the same way. This mirrors Coward's witty dialogue, which sees both couples remarking upon the same yacht, admiring the reflection of light upon sea, and deciding to eat at the same casino. The elements of physical comedy are exceptional, from the impromptu Charleston dance to the hilarious and minutely choreographed fight scene.

Lucy Osbourne's designs embody the luxury and grandeur of the 1930s - it isn't hard to picture Noel Coward himself reclining on the chaise lounge in Sybil's Parisian apartment (particularly fitting, as Coward himself played Elyot to great acclaim).

In this production, it is Tom Chambers who delights as Elyot. His boyish energy and roguish charm make an instant connection with the audience. There are many laugh-out-loud moments in this production, of which Chambers earns the lion's share with impeccable comic timing and small asides and dumbfounded looks directed at the audience. He handles Elyot's tricky mood swings deftly, hanging his head and wringing his hands in absolute frustration, before throwing himself into a chair like a teenager.

Laura Rogers is an absolute whirlwind as Amanda. Her beautiful voice and fast, fluent speech convey the excitement and glamour that make Amanda such an intoxicating proposition for both Elyot and Victor; one wishing to be swept along in her wild adventures, the other wishing to keep her safe and protect her.

Charlotte Ritchie as Sibyl and Richard Teverson as Victor also give stellar performances, particularly in the second act when their terribly English air of restraint is cast aside, and they vent their true feelings with full force.

The entire cast are a slick and well-rehearsed ensemble, carrying off jokes, dances, arguments and fights with all of the aplomb and sophistication so characteristic of the 1930s.

Although written in 1930, it is striking how relevant Private Lives feels in 2016. The four characters wrestle with the expectations of a man, or a woman, discuss how divorce will affect their social lives and try to maintain an outward appearance of absolute serenity, not dissimilar to the perfect lives curated on social media today.

This is a witty, fast-paced and stunning trip back in time, perfect for both ardent Noel Coward fans and those new to his work.

Photo credit: Alastair Muir

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