Hollywood Reporter

 29th April 2002

April 29 Through Sept. 9
The Richard Rodgers Theatre, New York

The last two times Noel Coward's classic 1930 comedy made its way to Broadway, the stars were Joan Collins and a teaming of Richard Burton and Elizabeth Taylor, so the camp factor in each version was, as you might imagine, through the roof. This London import, now on Broadway for a limited engagement after a sold-out run on London's West End, removes all such vestiges of silliness.

Brilliantly acted by Alan Rickman and Lindsay Duncan, reuniting onstage fifteen years after their legendary teaming in "Les Liaisons Dangereuses," the production is a revelation, a biting re-examination that conveys the seriousness of the war between the sexes as well as the witty bon mots for which the playwright was justly celebrated. Critical kudos, multiple awards, and sold-out status is virtually assured for this limited engagement.

Thankfully brought to Broadway with every creative element intact, the production is arresting from the opening moments, thanks to a set by Tim Hatley depicting the looming terraces of a French seaside hotel from a startling perspective. When Rickman and Duncan, as Elyot and Amanda, the former couple now finding themselves in unfortunate proximity during their honeymoons with their respective new spouses, make their appearances onstage, we instantly know we're in safe hands. Skillfully underplaying while wresting every drop of humor from the brilliant comic dialogue, they make quite clear the poignant underpinnings to their characters' plight.

As superbly directed by Howard Davies, the first act, in which Elyot and Amanda quickly realize that they're fated to be together and must quickly ditch their new partners, is both hilariously funny and, much more surprisingly, almost unbearably moving. The all too familiar lines -- "Funny how potent cheap music is" -- take on a new poignancy as delivered by these two superb performers, who readily convey the emotional truth underlying the farcical construction. The second and third acts, in which the characters retreat to a Paris apartment and quickly resume their warring ways, followed by an appearance by the disgruntled spouses, again expertly blends the expected comedy with much darker elements. When Elyot announces, "Certain women should be struck regularly, like gongs," it comes after an actual blow that produces gasps from the audiences.

The remainder of the original London cast has also made the trip, to excellent effect. Adam Godley and Emma Fielding, as the abandoned spouses, convey their characters' superciliousness while still garnering sympathy, and both have fine comic moments during the third act shenanigans. Alex Belcourt, as a befuddled French maid, makes a strong impression during her brief time onstage. The production design is outstanding, from the Olivier Award-winning sets and costumes to Peter Mumford's absolutely gorgeous lighting.

 

 

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