Private lives noel coward review
Private Lives by Noel CowardPrivate Lives is one of the most sophisticated, entertaining plays ever written. Elyot and Amanda, once married and now honeymooning with new spouses at the same hotel, meet by chance, reignite the old spark and impulsively elope. After days of being reunited, they again find their fiery romance alternating between passions of love and anger. Their aggrieved spouses appear and a roundelay of affiliations ensues as the women first stick together, then apart, and new partnerships are formed.
Private Lives 2010 Helena Bonham Carter & Bill Nighy
The Stratford Festival is blessed with such actors and a talented director, Carey Perloff, who combine to elevate what is a fairly simple concept to highly entertaining theatre. Written and set in , the plot is established when divorced couple Amanda Peacock and Elyot Wyn Davies arrive at a seaside resort in north France, both celebrating their honeymoon with their new partners, Victor Shara and Sibyl Walker.
Private Lives review at the Mill at Sonning – ‘a stylish but safe production’
This copy is for your personal non-commercial use only. Written by Noel Coward. Directed by Carey Perloff. Until Oct. Eschewing of prescriptions like morals and social norms is, clearly, another definitive element of camp. They play Amanda and Elyot as kindred spirits, while the romantic spark comes and goes, they are virtually indistinguishable as people.
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Private Lives book. Read 88 reviews from the world's largest community for readers. Private Lives is one of the most sophisticated, entertaining plays ev.
finding the lost art of empathy
It concerns a divorced couple who, while honeymooning with their new spouses, discover that they are staying in adjacent rooms at the same hotel. Despite a perpetually stormy relationship, they realise that they still have feelings for each other. A Broadway production followed in , and the play has been revived at least a half dozen times each in the West End and on Broadway.
For its verbal musicality or its emotional reality? Overstress either and the play suffers. Jonathan Kent's revival gets the balance just right — and reminds us that the piece's appeal lies in its joyously irresponsible defence of bohemian privilege against bourgeois rectitude. For more than 80 years, Coward's play has been quietly taking the piss out of its middle-class audience's strongest beliefs. The central casting in Kent's production is spot-on. Toby Stephens lends Elyot, who absconds with his ex-wife while they are in the midst of honeymooning with new partners, a languourous drawl and a wicked temper: even the way his dangling left hand flicks cigarette-ash over the balcony of his Deauville hotel suggests a mounting irritation with his second spouse. There is a similar fretful impatience to the way Anna Chancellor's steely Amanda brushes aside her new husband's eager kisses.
The wit is as dry as the martinis and, even for the time in which it was written, the characters of feuding couple Elyot and Amanda are almost other-worldly. But beyond that, the production lacks personality. And our journalism is invested in supporting theatre and the performing arts. The Stage is a family business, operated by the same family since we were founded in We do not receive government funding. We are not owned by a large corporation.