Private Lives

Come Again

Private Lives

by Noël Coward

Richmond Shakespeare Society at the Mary Wallace Theatre until 23^rd March

Review by Celia Bard

Some ninety-four years ago Private Lives by Noël Coward was selected as the play for the opening of the new Phoenix Theatre in London, with the stellar cast consisting of Noël Coward himself, Gertrude Laurence, Adrianne Allen and Lawrence Olivier.  It is commonly accepted that Coward wrote this play specifically for Gertrude Lawrence, the couple often being described as soul mates

In this production by the Richmond Shakespeare Society, Amanda Adams and Oliver Tims play Amanda Pryne and Elyon Chase; and Eloise McCreedy and Paul Grimwood play Sibyl and Victor.  The elderly maid is played by Deborah Tinsdale.  These five actors supported by an imaginative and talented crew including the director, Rick de Kerckhove, succeed in breathing life into a somewhat outmoded view of life as lived by the echelon of upper-class society … at least that is how they were often portrayed in the cinema in the thirties.  The picture was one where women were expected to dress prettily, to be servile to men, to be polite and accommodating in contrast to men, who were expected to be assertive, dominant, bold and brave. 

I think very few people are completely normal really, deep down in their private lives.

Noël Coward

The two male characters in Private Lives try their best to live up to these characteristics, but fail because the two women have their own views of womanhood that certainly isn’t docile, though both of them do dress ‘prettily’.  Judging from the relationship between these couples Coward doesn’t seem to think much of marriage, and sees it as more a constant war between men and women. 

Oliver Tims manages to portray in many way the essence of Noël Coward himself: sophisticated, languid, musical, witty, quick to temper … though this reviewer never thought of Coward as a violent man!  Tims totally succeeds in holding the attention of the audience, keeps the pace moving and has good physical movement.  He and Amanda Adams are well matched in their ability to present a couple who have an extremely tempestuous relationship: at times it’s loving, mischievous and tender, but at other times brutal and violent.  Adams plays this part well: she has a good vocal range and is effervescent whether angry or tender.  In terms of play structure this relationship works well, for their coming together after a five-year separation provides a perspective as to why they parted.  Their relationship resembles moths drawn towards white light.

In contrast McCreedy and Grimwood have a more difficult task in making the audience believe in the reality of the relationship for they do not have a past, other than their travelling together to track down Chase and Prynne, and yet the play ends with them behaving in exactly the same way as the latter couple.  Despite this somewhat contrived ending McCreedy and Grimwood succeed in entertaining the audience through their total belief in the characters they are portraying and their acting skills.  

Deborah Tinsdale as Louise, an elderly French maid in Amanda’s flat, is just a joy to watch.  This actor when playing comedic roles only has to step on to the stage to bring a smile to the faces of the audiences … couldn’t understand a word of what she was saying but she is brilliant: her gestures, physical movement and final riposte ‘brought the house down.’

The sets, designed by Junis Olmscheld (lead) and Trine Taraldsvik, were true to the period and exactly as one might expect: stylish, a great attention to detail, a hint of romance in the first set and more adaptable and movable set furniture in the second and third acts.  Likewise the costumes of both the men and women were immaculate, and true to the period.  The actors were comfortable in their costume and wore them with flair.  This reviewer was struck by how at ease the couples were in their more intimate moments and here she pays tribute to Pauline Orchard and Francesca Ellis for their contribution to this aspect of performance; likewise Scot Tilley for the authenticity of the fight scenes.

This production felt secure in the hands of its director, Rick de Kerckhove.  Some of the scenes were hard to watch because of the violent spats between the couples but the humour and wit was sufficient to stave off complete unease. 

Celia Bard, March 2024

Photography by Pete Messum