When it comes to British comedy of manners, Noël Coward is a master at it. One of the stage's most prolific playwrights and stage impresarios, his madcap romantic comedy PRIVATE LIVES gets a richly amusing though slightly by-the-numbers revival at the Laguna Playhouse, now playing through April 10. Full of Coward's biting wit and old school farcical elements that still hold up surprisingly well, this revival production—helmed by Andrew Barnicle, fresh from stepping down from his post as this theater's artistic director in residence—is full of hearty, genuine laughs.
True to Coward's signature style, PRIVATE LIVES examines the liquid morality of its main characters and the avalanche of hilarity that crashes down when misunderstandings, spontaneity, and happenstance collide. The play shines the spotlight on Amanda (the excellent Julie Granata) and Elyot (Joseph Fuqua), a now-divorced couple who have unknowingly reserved hotel rooms literally next to each other as they each honeymoon with their respective new spouses.
We soon learn that their marriage to each other was a tumultuous, often hurtful three-year-long ordeal, and somehow—despite the passage of five years—the ramifications of that union still haunts their new lovers. Elyot's much younger new wife Sybil (
Winslow Corbett) cannot quell her curiosity about the woman that came before, wondering if she will face similar challenges as Elyot's new bride. Meanwhile Amanda's uppity new husband Victor (
Matthew Floyd Miller) is shaken by the thought of her ex-husband's brutal harshness towards his new wife. Their simultaneous discussions escalate, causing both couples to trade screams of anger (to the audience's delight, of course).
Much to no one's surprise, when Elyot and Amanda discover each other's presence on the outdoor balcony that their adjoining rooms share, their fiery, palpable passion is re-ignited with a fervor. Realizing that they are truly in love and are meant to be with each other, Amanda and Elyot impulsively ditch their altar-fresh significant others and run away together in Paris. Their romantic tryst is interrupted a few days later, however, when both Victor and Sybil join forces and show up at their retreat, hoping to confront both about their shocking, bad behavior.
First produced for the London stage in 1930 (wow!) then debuted a year later on Broadway, PRIVATE LIVES' then-forward-thinking exploration of moral ambiguities of married life still feels hilariously
au courant, yet can now feel a tad bit predictable. Bawdy but literate, silly yet studied... plenty of Coward's funny lines hold up quite well—a great, applaudable feat considering this was written more than 80 years ago. But perhaps that's exactly it: because it feels utterly familiar now. From comedically-timed entrances to over-the-top physicality, it's arguable that many a TV sitcom storyline owes a huge debt of gratitude to the farcical possibilities Coward influenced into the pop culture of the latter half of the 20th Century, most particularly in British comedies.
The
Laguna Playhouse production takes Coward's original three-act structure, and places a single intermission between the first and second act to allow only for a set change (and it's a nice one, designed by
Bruce Goodrich and constructed by the artisans at The
Pasadena Playhouse). Act One takes place entirely in the quartet's adjoined balcony, then moves to the French estate that the runaway lovers hide out in for the post-intermission remainder. Aside from a rather distracting modern-skewing couch that feels oddly contemporary—though the circle patterns on the upholstery certainly convey the theme of characters spinning in circles—this production presents a rather lovely, straightforward, faithful revival that eschews any modern sensibilities. It's probably a safer bet to try and stay true to Coward's intentions, thereby forcing a genuine approach in mounting such a stage classic. Coward's phrases are pretty great on their own and director Barnicle takes care to highlight them.
These words, comedically realized, are certainly a treat to watch and they have assembled a main quartet of impressive actors to embody these Coward characters with great aplomb. The women certainly steal the show, especially Granata, whose beguiling take on the worldly, impetuously adventurous Amanda feels incredibly spot on. Corbett's Sybil provides a great frilly contrast, while Fuqua's debonair Elyot is a well-matched sparring partner against the unbridled, hot-as-fire characterization of his once and future wife Amanda. Miller as Victor, excellently transcends the average fuddy-duddy with an explosive center that other actors could have retreated to by default. (Julia Etedi enters the play briefly as frustrated French-speaking Parisian maid). Bravos all around.
More than anything, PRIVATE LIVES seems to be Coward's excuse to personify the flamboyant, witty, outlandish targets of his own sect. It carries the weight and air of sophisticates being wickedly mocked, but with a gentle, knowing caress that presents a safe place to show high society as a source of utter buffoonery. All in all, PRIVATE LIVES at the
Laguna Playhouse may come off as a bit predictable, but more often than not, it's pretty darn funny.
Photo: Joseph Fuqua (seated) & Julie Granata, courtesy of The Laguna Playhouse.-----
Performances of Noël Coward's PRIVATE LIVES at the
Laguna Playhouse continue through April 10 and are on Tuesdays-Fridays at 8 p.m.; Saturdays at 2 p.m. and 8 p.m.; and Sundays at 2 p.m. Tickets are priced $35 to $65. The
Laguna Playhouse is located at 606 Laguna Canyon Road, Laguna Beach, California.
For more information, call 949-497-2787 or visit
www.lagunaplayhouse.com.
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