Private Lives
Let’s Twist Again
Private Lives
by Noël Coward
Octagon Theatre Bolton, Mercury Theatre Colchester and RTK Productions at The Rose Theatre, Kingston until 25th October, then on tour until 8th November
Review by Polly Davies
This production of Noël Coward’s Private Lives won the celebrated RTST Sir Peter Hall Director’s Award. It’s not difficult to see why. This talented innovative director has taken a well-known play and given it several twists. The essential plot, about two couples on their honeymoon at the seaside who unexpectedly run into the last person in the world they would wish to see, remains. Tanuja Amarasuriya’s treatment turns a lightweight witty play into a much more meaningful drama of bad choices, and disappointment.
The comedy is still there but if anything, under-played, the oft quoted “Very flat, Norfolk” line, suitably fell a bit flat, though there were some lovely comedic moments remaining. Not least the physical comedy as the couples came to terms with the consequences of their actions when they met in Paris.
The stunning Art Deco set and sumptuous costumes designed by Amy Jane Cook are period perfect, but the delivery was very 21st Century. This gives the production a disturbing dissonance. The very obvious patriarchy shown by both male characters was no doubt normal and maybe acceptable to an audience in the 1930s, but was more unsettling when not delivered with traditional Cowardesque clipped voices.
The intentional addition of diverse casting is also calculated to bring a further discordant note, though, as it is thankfully not rare to see these days, may be less than expected. Pepter Lunkuse’s was every bit the very forward-thinking sophisticated Amanda. This characterisation is perhaps an easier span between period piece and today’s world, than Chirag Benedict-Lobo’s delightful Elyot. It was not difficult to see this Elyot being a very welcome guest at the Gymkhana club in Poona hanging out amongst the wealthy ex-pat roués. But both were convincing as the fast living, pleasure-seeking spoilt couple who were unhappy together but couldn’t live apart. The nice play on their safe words, Solomon Issacs, was nearly, but not quite enough to keep them together.
And I found some of the other contrasts built into this production to be a little hard-edged. In the first was hard to imagine either couple in the first scene being on honeymoon. Ok, so both might have been somewhat marriages of convenience, but their body language didn’t even make it as friends, more like strangers. This meant it was less surprising than it might have been to see either marriage collapse as spectacularly as it did.
Sade Malone’s beautifully fluffy Sibyl, and Ashley Gerlach’s suitably old-school stiff Victor, however, by the end made it easy to see why they were both deserted by the irresponsible but fun Amanda and Elyot. Similarly at the end a little more nuance as they matched and rematched before parting could have added to the fun. I did end up feeling very sorry for them all.
So did this version work? I’m not sure it fully did for me, but it made for an interesting thoughtful evening.
Polly Davies, October 2025
Photography by Pamela Raith
Mark Aspen 