Private Lives
If you're starved for a titillating comedy by a world-famous
English playwright, one who composed brilliant dialogue full of
biting wit and sizzling repartee, Noel Coward's name is bound to be
at the top of your list.
Never mind that he penned "Private Lives" over eighty years ago,
or that it ridicules the rules of veddy-veddy proper society, or
that it's irreverent and outrageous, this play is a satirical work of
genius.
With two caveats: Coward's work must be directed by someone who
is conversant with his singular slant on life--and must be performed
by seasoned actors who can handle the enunciation, rhythm, and
phrasing of the upper-class British hierarchy.
With that out of the way, prepare for a very special treat at
International City Theatre where "Private Lives" opened last week
to the delight of everyone in the audience. That includes yours
truly.
Even before the play begins, the mere sight of Kurt Boetcher's
set (the terrace of some posh hotel on the French Riviera, under
Bill George's romantic light design), holds you captive. With the
lyrics of "Mad Dogs and Englishmen" playing softly in the
background, the scene is set for all the folderol to follow.
Sparks fly from the get-go, when Amanda and Elyot (who were
married to each other five years ago) unexpectedly find themselves
in adjoining honeymoon suites. Both of them are newly-weds who just
arrived from London with new spouses. Jaded, debonair Elyot is now
the husband of blond, docile Sybil; and fiery, hot-tempered Amanda
is now the wife of polite, respectable Victor.
Tempers flare immediately, as does repressed passion, emotion,
jealousy and longing. Under the sure-fisted direction of Luke
Yankee (himself a dialogue coach), energy explodes from the stage--
igniting the audience with Coward's non-stop barrage of witticism's.
The cast is first-class all the way. Playing the leads are
Caroline Kinsolving and Freddy Douglas as Amanda and Elyot, followed
by Jennice Butler as Sybil and Adam J. Smith as Victor. All four of
them clash, connive, dig in their heels and strategize. Then after
the inevitable happens (Amanda and Elyot rekindle their love), they
desert their new partners and run away to Paris.
Once there, their old pattern resumes. They make passionate
love one minute, and hate the sight of each other the next--all of
it expressed through Coward's brilliant satire of the British
upper-class.
Of course Sybil and Victor catch up with them, and then the
mad-cap hi-jinx really accelerates. Even their special code word,
"Solomon-Isaacs" (invented to halt things whenever both of their hot
tempers escape) fails to work. You have to see what happened in the
Paris apartment to believe it.
Kim DeShazo's costumes capture the 1930s, as does Anthony
Gagliardi's hair and wig design. And thanks to Paul Masterson's
fight choreography, the knock-down, drag-out spats between the
lovers are totally convincing.
So what happens next? How does Coward end this riotous comedy?
Do Sybil and Victor forgive their outrageous spouses for deserting
them on their wedding day? Can the deplorable antics of Amanda and
Elyot be overlooked? Does everyone make-nice and try to forget what
happened on their respective honeymoons?
Do you really think that I'd give this delicious spoof away?
For the answer to all of the above, call (562) 436-4610 for tickets
or go on line at www.InternationalCityTheatre.org.
This production of "Private Lives" is a winner. It continues at
International City Theatre, Long Beach Performing Arts Bldg
300 E. Ocean Blvd., through Sept. 18.