Festival Theatre, Malvern – until Saturday 9th April 2022
Reviewed by Courie Amado Juneau
4.5****
Private Lives was originally written by Noel Coward in 1930 as a vehicle for him and his close friend Gertrude Lawrence. The plot revolves around Elyot and Amanda, long since divorced, finding themselves suddenly face to face on adjoining balconies in a hotel in Deauville, much to their astonishment since they are both there honeymooning with their new respective partners. The situation spirals out of control rather rapidly over cocktails and reminiscences…
Nigel Havers plays Elyot (the part Coward played in the original run) and he could not have been more perfect. Always an attractive leading man, he seems to get more suave and elegant with age, looking right at home in this high class setting. He showed an impressive range of emotions, including jealousy and anger bursting forth in the middle of a jocular exchange. And his facial expressions showed an accomplished comic talent. A stellar performance.
Patricia Hodge (playing Amanda), likewise, is known as being a stunning, high class lady and so was the perfect lead to accompany Havers. She matched him in every respect and way (range, comedic timing etc) making them a thoroughly believable couple. I was shocked how beautiful her singing voice was; having a mellifluous tone which left me wanting more.
As you would expect from Coward, the script is quick fire, cutting and very much of its time. It reminded me of Aldous Huxley’s Crome Yellow in its fascinatingly cynical way of thinking and somewhat archaic (to our modern ears) style of conversation. That’s not to detract from the piece, indeed it was a reason to rejoice in a bygone era that is sorely lost.
The timing of the entire cast, dovetailing each line with comedic exactitude, was highly impressive. The delivery felt natural though, which I’m sure is a testament to all the wonderful actors as much as Director Christopher Luscombe’s decisive input. The first time honeymooners (Natalie Walter playing Sibyl and Dugald Bruce-Lockhart playing Victor) were excellent too, with fantastic performances from the moment they appeared to the culmination of the play when they really shone through a rather surprising, though perhaps inevitable, ending.
A special mention goes to Music Supervisor Nigel Hess for the clever use of song to draw our two main protagonists together (both in the moment and also into their shared past). A genius move and one of the highlights of this wonderful production. Indeed, music makes quite an impact throughout the work, not only in presenting a number of Coward’s own contemporary pieces but also on record (but I won’t spoil that surprise with an elaboration).
Amanda’s flat in Paris, overlooking the Champs Elysees, had an expansive (and expensive looking) grandeur that was a joy to behold. Impressive scale and oppulance from Designer Simon Higlett.
A triumphant inaugural show from The Nigel Havers Theatre Company and one of many more to come I’m sure. An auspicious start and fantastic evening’s entertainment which I highly recommend.