Seattle Review: Private Lives

Those familiar with Noёl Coward know that his writing was more than just a continuous string of witty jokes. While Coward's wit is a trademark of his work, he also had a great gift for making comedy have substance. Productions of his plays are often littered with grand gestures and exaggerated vocals that prevent the core themes from emerging. Fortunately, Seattle Repertory Theatre's divine new revival of Coward's Private Lives hits all the right notes, both comically and thematically. This is a production firmly grounded in the truth of it all, painting an imperfect portrait of the always curious human psyche.

Private Lives begins with the honeymoons of newlyweds Victor (Allen Fitzpatrick) and Amanda Prynne (Suzanne Bouchard) and Elyot (Rob Breckenridge) and Sibyl Chase (Nikki Coble). We soon discover that Amanda and Elyot were once married. When each realizes who is in the adjoining suite, sparks fly and old feelings are renewed. Amanda and Elyot escape to Paris with Victor and Sibyl hot on their tails. Once in Paris, the reunited divorcés begin to fight like caged animals. Furniture flies, breakables are broken, and slaps are distributed.

But Private Lives is so much more than great physical comedy. While it is surely a comic highlight of the piece, the big fight functions to show us that love is more than just roses and kisses. Even if you love someone deeply, the potential for tension is inevitable. Our ability to forgive is deeply examined as Coward shows us that even a soul mate can occasionally drive one insane. There is also something forbidden about Victor and Amanda's love that remains topical in a society still full of judgments.

Director Gabriel Barre is well aware of the deep subtext in Coward's work. He has gone to great lengths to make the festivities as realistic as possible. Though the situations are absurd, he has his actors playing their characters truthfully without the wink in the eye that often accompanies performances of Coward's plays. What is most impressive about Barre's direction is his ability to allow the raucous physical fights evolve organically from the action. There is never an insincere moment where actors step out of character to engage in obviously choreographed stage combat. In fact, most of the fights begin without us knowing it, which grounds the production firmly in reality. Barre also provides a powerful ending that never seems as forced as it does on the page.

Barre has surrounded himself with a capable company that carries out his vision flawlessly. Every relationship is clearly developed, with each interaction perfectly executed. This company is equal parts hilarious, sexy, provoking, and poignant. Everything they deliver is rooted in character, and there isn't a false moment amongst them. They are able to make every classic Coward line fresh and important.

So many productions of Private Lives only show us what Amanda and Elyot hate about each other. Bouchard and Breckenridge emphasize what constantly pulls this bickering couple back together. They relish in all of the lavish moments of ecstasy. There is so much variety to this relationship.

Bouchard gives another grand performance in a role she was born to play. Her Amanda is a flawed heroine who is living life from moment to moment. Again, she not only shows us what is repulsive about her character but also what is attractive. She provides a stunning silhouette for Elizabeth Hope Clancy's period perfect costumes, and is able to put her superb singing voice to great use. Breckendridge's Elyot is appropriately arrogant, but also full of the insecurities that plague such extreme personalities. He is more than just a confident boaster. Every gesture he executes has reason behind it.

Fitzpatrick and Coble provide great depth to characters that can often seem extraneous. They are everything Amanda and Elyot despise about love, and provide great support throughout. Both shine in a divine scene transition that plays like a silent film. Lori Larsen brings mounds of comic subtlety to French maid Louise. This character is often played in broad strokes, and it is refreshing to see an actor deliver a detailed performance in a bit part.

Walt Spangler's elegant scenic design effectively evokes 1930's Paris. He provides a great playing space full of tricks and surprises. Howell Binkley's lighting design creates a deeply romantic mood throughout, and Christopher Walker's sound design delights.

Seattle Rep's Private Lives is probably the most cerebral production of the play possible. While skeptics who find Coward's work to be merely about stinging banter and champagne would probably disagree, Barre and his actors are well aware of the subtext behind the frivolity. They have given us an intelligent offering full of both humor and insight. Though Coward's work is often produced, it rarely reaches the quality seen here. Patrons are sure to leave craving more Coward, and hopefully it won't be too long before this always reliable company gives us another delightful offering from this truly amazing playwright. Who's up for a revival of Sail Away?

Private Lives runs through April 1^st at Seattle Repertory Theatre. For tickets call (206) 443-2222, or visit www.seattlerep.org

Photos by Chris Bennion. Pictured: Suzanne Bouchard as Amanda Prynne and Rob Breckenridge as Elyot Chase

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