Private Lives Revival Spins Coward's Vicious Comedy in Manchester
In director Blanche McIntyre's revival of Private Lives at the Royal Exchange theatre in Manchester, love is portrayed as a dizzying and queasy merry-go-round of desire and spite. Staged in-the-round, Noël Coward's classic comedy spins its sparring lovers, Amanda and Elyot, around like records on a gramophone, creating a nauseating effect that mirrors the ugliness of their destructive bond.
A Sleek Setting and Witty Dialogue
The play opens in the luxurious surroundings of a French holiday resort, rendered in sleek, monochrome minimalism by designer Dick Bird. The first act is filled with pre-dinner cocktails and witty dialogue, as acrimonious exes Amanda and Elyot collide on their honeymoons with their new spouses, Victor and Sibyl. They quickly abandon their partners and escape to Paris, but in Amanda's cluttered apartment, surrounded by booze and half-eaten plates of food, the rekindled romance begins to sour.
Pleasingly Coward-esque Performances
Much of the drama hinges on the protagonists, and here, Jill Halfpenny's acidly poised Amanda is matched by the dry, detached humour of Steve John Shepherd's Elyot. They deliver Coward's assortment of bons mots with ease, sharing a visible delight in withering put-downs. However, in the extremity of the second act, there is a hint of restraint in moments of lust and violence, which blunts the vicious climax despite the stage spinning out of control.
Supporting Cast Holds Their Own
As the abandoned other halves, Daniel Millar's Victor is the picture of contented self-importance, while Shazia Nicholls suggests a hidden canniness beneath Sibyl's grating hysterics. They hold their own against the sparkle of their counterparts, especially when returning to disrupt the poisonous love nest. Sara Lessore also delivers an enjoyable turn as Parisian maid Louise, underlining the privileged caprices of her employers.
A Capricious Game Rather Than Dangerous Passion
Overall, Amanda and Elyot's relationship in this production feels like a capricious game between sophisticated players, rather than a dangerous, irresistible passion. The giddily spinning stage at the Royal Exchange theatre in Manchester enhances this effect, making the revival a witty but restrained take on Coward's queasy comedy. The production runs until 2 May, offering audiences a fresh perspective on this timeless play.
