Review: Private Lives (Reading Rep)

Review by Ruth Sealey

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A visit to the Reading Rep offered a trip back to the 1930s French Riviera, and a play written almost 100 years ago, with their revival of Noël Coward’s classic Private Lives. A whirlwind of love, control, marriage and relationships presents an ambitious task, raising the question of whether this passion and lust can successfully transfer to the stage in Reading. With shifting relationships and strong emotions at its centre, this revival explores whether a story rooted in desire and power still resonates with a modern audience.

Written by Noël Coward in 1930, Private Lives first premiered in London at the Phoenix Theatre and became known for its portrayal of glamorous lifestyles and quick-witted humour. The story revolves around two couples honeymooning on the French Riviera. On one side are Amanda and Victor; on the other, Elyot and Sybil. All seems straightforward at first, until it emerges that Amanda and Elyot were once married and, by chance, are now spending the first night of their respective honeymoons in neighbouring suites at the very same hotel. What follows is an exploration of marriage and toxic relationships, but also a comedy that can still make audiences laugh nearly 100 years on.

It will always be a challenge to bring something new to a play of this age, particularly one so well known. However, director Matthew Forbes has certainly created something distinctive for Reading Rep. Some of the jokes still feel relevant today, while others inevitably show their age, but this is handled with care and a light touch. The play’s quick pace risks losing some of the subtlety in the relationships as they build, fracture and reform, but Forbes keeps a firm grip on this. In fact, the subtlety becomes one of the most engaging aspects of the production. The physicality of the characters is beautifully observed, with small gestures, expressions and movements that draw laughter and fully engage the audience.

One of the most interesting aspects of the production is its consistently brisk pace. While this energy suits much of the action, moments where it briefly settles reveal a different dynamic, and some of the darker elements of the relationships, often lost in the chaotic nature of the characters, are brought into sharper focus. There is potential for this to be explored further, particularly in relation to the more toxic and violent aspects of the relationships, which could add further depth to these moments. At times, this would also help prevent the characters tipping towards caricature, giving the audience more opportunity to sit with the discomfort that is already present beneath the humour. It is certainly a play that allows space for both humour and unease to sit alongside one another.

The cast assembled for this production is especially impressive, with a dynamic between them that is consistently engaging. Emile John brings a bumbling awkwardness to Victor that is both endearing and infuriating in equal measure, while his interactions with Orla O’Sullivan’s Sybil, as Elyot’s jilted spouse, are particularly strong and convincingly played. O’Sullivan captures the innocence of Sybil in the opening scenes perfectly, and there is a fantastic development of her emotions and character as the play progresses.

Christopher Bonwell’s Elyot is the kind of character you find yourself wanting to applaud for his wit, while simultaneously disliking his arrogance and treatment of the women in his life. This is a balance he handles very effectively, and his performance is full of dynamic shifts as he interacts with the different women in his life. It would be remiss not to mention Rose-Anna Nicholson as the French maid, Louise. Her stage time is limited, but it is expertly handled. The standoffish nature of Louise, despite speaking only in French, is not lost on the audience, and her lines are delivered with impressive ease for someone making their professional debut. The fact that Nicholson has come through the ranks of Reading Rep Theatre’s Youth Company is also a credit to both the theatre and this production.

For all the strength of the cast, Amy Di Bartolomeo as Amanda stands out as nothing short of exceptional. She captures Amanda’s venomous tongue perfectly and owns the stage at every moment, in what can only be described as a magnetic performance. A skilled performer, she has impeccable comic timing and a real attention to the small details of the character, bringing Amanda to life just as much through her physicality and expression as through her dialogue. To hear her sing, accompanied by the on-stage piano (once played by Noël Coward himself), was also an unexpected moment to treasure.

I am always impressed when a small theatre can bring to life a production with such a striking set. Designed by Kevin Jenkins, the intimate space is effectively transformed into the adjoining balconies of the hotel and then into Amanda’s flat. Although the methods used to change the set at the interval may not be the most subtle, the attention to detail throughout is nonetheless commendable, adding to the overall atmosphere and sense of production quality.

Private Lives is a credit to Reading Rep and a fantastic production. Coward’s writing still feels sharp and relevant today, and this staging brings out much of its wit and energy with confidence. While there are moments where a greater exploration of the play’s less humorous aspects and the darker sides of these kinds of relationships could add further depth, it remains a strong and thoroughly engaging interpretation throughout. To see a production and cast of this calibre in a space such as Reading Rep is an opportunity that should not be missed.

Private Lives plays at Reading Rep until 9^th May. Tickets from http://www.readingrep.com/whats-on/private-lives-2/#performances