Writer: Noel Coward
Director: Tanuja Amarasuriya
Two couples arrive at a glamorous seafront hotel for their honeymoons – only to discover a former partner in the neighbouring room.
The sparks are set to fly, and fly they do. Noel Coward, dubbed The Master by his peers, was writing almost 100 years ago but the passions and conflicts he depicts are truly timeless. His speciality was witty repartee and there are plenty of laughs in what is a wordy play suffused with moments of delicious physical theatre by director Tanuja Amarasuriya.
The facial contortions, characterful postures and gestures of Ashley Gerlach as hapless spouse Victor are a particular delight, and a mouthed exclamation by Pepter Lunkuse as Amanda is an inspired addition to the original stage directions.
The brightly lit Deco set sizzles with colour, in the first half as adjoining balconies, and in the second as a luxurious hotel interior. Hats off to set and costume designer Amy Jane Cook – the 1930s wardrobe of natty suits and sumptuous satin silks and chiffons is glorious.
The recent and final Downton Abbey movie embraces the same period and features Coward as a guest inspired by Lady Mary to write Private Lives. Ha ha. Coward had a keen eye for the casual cruelties in the bubble of high society and as a feted and gay man in that era no doubt felt them keenly. Here they are given centre stage. Never mind the terrible heartaches wrought by the turn of events, the main concern is “what will people say?”
Domestic violence echoes and amplifies the violence of the language used, particularly by the effortlessly charming and louche Elyot, played by Chirag Benedict Lobo. His sense of entitlement radiates from every pore. The last of the quartet is Sade Malone’s Sibyl, the least attractive character, who is prone to simper and complain. “Don’t quibble, Sibyl”, Elyot memorably tells her at the start. He then casually throws out the remark: “I would like to cut off your head with a meat axe.” Honeymooners, eh. When Sibyl finally lets rip at the close of the show it is something of a relief.
The play’s intimacy and fight director Haruka Kuroda has much to do and creates some great scenes.
The production was enabled by a regional theatres grant set up by the later Sir Peter Hall and is a collaboration between Octagon Theatre Bolton, Mercury Theatre and Rose Theatre in association with Northern Stage.
It opens with a song and features a dance number, perhaps a metaphor for the horizontal fun being had? Both are delivered joyfully but are surprising additions.
It is refreshing to see a multi racial cast in what Amarasuriya describes as a usually white and stiff and clipped play. Despite its other qualities Private Lives remains primarily a play for lovers of quips and badinage, some of which have seem to have lost their fizz over the eras.
Runs until Saturday 8th November 2025
