PRIVATE LIVES REVIEW

Sunday Telegraph

7th October 2001

John Gross

 

The new production of Private Lives, at the Albery Theatre, is all that it should be, which is saying a great deal. It brings out the qualities that make the play far and away Noel Coward's best, a work worthy to be mentioned in the same breath as Congreve or Wilde.

It is glorious to look at, too.

Tim Hatley has designed a soaring, sloping hotel frontage for the first act and a richly dishevelled crimson lair for the second and third. There are attractive costumes by Jenny Beavan and atmospheric lighting by Peter Mumford - especially in the hotel scene, with its sparkling reflections from the sea and glamorous glow from within.

Meanwhile Howard Davies' direction displays an unerring sense of pace and form. On this occasion, I think, even the most casual playgoer will take pleasure in the elegance with which the play is constructed, while perfect timing and emphasis ensure that jokes, which in another context might seem no more than moderately funny, come across as diamond-sharp.

At some point, no doubt, direction becomes inseparable from the acting, which is exemplary. As Amanda, Lindsay Duncan's allure is laced with a dose of cool common sense and a dash of deadly nightshade. As Elyot, Alan Rickman proves himself a master of the stricken look, the bleak stare, the sardonic comeback and the out-and-out tantrum.

Adam Godley's Victor and Emma Fielding's Sibyl provide delicious foils: the sight of Amanda, Victor and Sibyl sitting crammed on a sofa while Elyot addresses them with his mouth full of brioche will not be readily forgotten. But then neither will lots of other scenes: the production creates wave after wave of comic euphoria.

 

 

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