Private Lives Review – Noël Coward’s Queasy Merry-Go-Round of Desire and Spite
In director Blanche McIntyre’s compelling revival of Private Lives at the Royal Exchange theatre in Manchester, love is portrayed as a dizzying, almost nauseating force. Staged in-the-round, Noël Coward’s vicious comedy of desire and spite spins relentlessly, much like the records played on the gramophone by its sparring lovers. From the moment acrimonious exes Amanda and Elyot collide during their honeymoons, the revolve begins to turn, gradually accelerating to a point of palpable unease.
A Sleek Setting and Witty Dialogue
The production opens in the luxurious surroundings of a French holiday resort, rendered with sleek, monochrome minimalism by designer Dick Bird. The first act is filled with pre-dinner cocktails and Coward’s signature witty dialogue, setting the stage for the tumultuous reunion. Amanda and Elyot quickly abandon their respective new spouses—the pompous Victor and vapid Sibyl—and escape to Paris. However, in Amanda’s cluttered apartment, surrounded by booze and half-eaten plates of food, their rekindled romance begins to sour, revealing the ugliness beneath their destructive bond.
Pleasingly Coward-esque Performances
Much of this drama hinges on the protagonists, and here, both lovers are pleasingly Coward-esque. Jill Halfpenny delivers an acidly poised Amanda, perfectly matched by the dry, detached humour of Steve John Shepherd’s Elyot. They navigate the script’s assortment of bons mots with ease, sharing a visible delight in withering put-downs. Yet, in the extremity of the second act, there is a sense that something is held back, both in moments of lust and violence. While the stage spins out of control, a hint of restraint in the performances slightly blunts the vicious climax.
Strong Supporting Cast and Privileged Caprices
The supporting cast holds its own against the sparkle of the leads. Daniel Millar’s Victor is the picture of contented self-importance—a man proud of his own ordinariness—while Shazia Nicholls suggests a hidden canniness beneath Sibyl’s grating hysterics. Their return to disrupt the poisonous love nest adds depth to the narrative. Additionally, Sara Lessore provides an enjoyable turn as the Parisian maid Louise, subtly underlining the privileged caprices of her employers.
A Capricious Game Rather Than Dangerous Passion
Despite the giddily spinning stage, Amanda and Elyot’s relationship in this production often feels like a capricious game between sophisticated players, rather than a dangerous, irresistible passion. McIntyre’s direction keeps the cut and thrust witty, avoiding a curdling into true danger. This approach highlights the play’s themes of desire and spite, making for a thought-provoking yet entertaining experience.
Private Lives runs at the Royal Exchange theatre in Manchester until 2 May, offering audiences a fresh take on Coward’s classic comedy. The production’s innovative staging and strong performances make it a must-see for theatre enthusiasts, blending humour with a subtle critique of privileged relationships.
