At The Arctic Playhouse, where the proximity of actors to audience is personal, Noël Coward’s cheeky wit and havoc seemingly places you right into the conspiracy. Private Lives has been called one of the most sophisticated, entertaining plays ever written. Divorced couple Elyot and Amanda, now honeymooning with their new spouses, have a chance meeting on adjacent hotel balconies. What are the chances? When sparks reignite, they impulsively elope, only to find their relationship just as volatile as before, the passion alternating between love and anger. Truths fly when their aggrieved spouses appear, creating further chaos. Richard Griffin directs this sharply tuned, uniquely humorous play that delivers quick-fire dialogue, strained levity, and Coward’s timeless insight into what goes on beneath the surface of our “private lives.”
Arctic’s production refuses to burnish the cruelty embedded in Coward’s comedy. During the famous balcony scene, there’s more of a sharp edge than standard charming banter. Laughter is tinged with the uneasy awareness that these indecent humans derive as much pleasure from wounding each other as from reconciliation. This gets reinforced by physicality, while moments of stillness speak as loudly as the brisk banter.
From the moment Elyot and Amanda collide, both verbally and emotionally, the actors’ chemistry is unmistakable. Elyot is portrayed by Ryan Vigneau with an almost feline self-assurance, his intonation veiling the volatility flickering beneath the surface. Vigneau’s handsome baby face deceives during his more abusive moments. Conversely, Lydia Kapp’s Amanda demonstrates capricious shifts that are amusing one moment, cutting the next, then can suddenly become disarmingly genuine. Their pairing is effective beyond obvious attraction since they share a rhythm, requiring no dialogue to retain their bond as seasoned adversaries.
The supporting cast provides essential counterweight. Sibyl, deftly portrayed by Stephanie Rose Witz, waltzes onstage as a beautiful, proper force. She is soon reduced to a shrill annoyance, delivering a bit of emotional clarity as her earned indignation and carefully maintained composure give way to dramatic sobbing. Victor, brilliantly portrayed by Jay Burns, refuses to be taken in by bravado. He stands steadfast despite being slightly outpaced by the emotional prowess of those around him, his authority continually outstripped by his own bewilderment.
Leslie Racine Martin adds comedic relief as Louise, a French maid who clearly disdains the upper-class shenanigans. She brings a different energy, contrasting the intensity of the violence and dramatic arguments of the various couplings. Also adding to the brilliance of this play is set design by Lloyd Felix, offering attractive staging that literally folds into itself, transforming the hotel balconies into Amanda’s Parisian apartment. As the action moves indoors, tensions escalate, and the choking atmosphere becomes claustrophobic, as though the walls are closing in on meticulously constructed facades.
Hey, it was 1930, and resilient escapism was necessary. Coward’s ingenious writing expresses the pursuit of joy, community, and glamor seen during the Great Depression. Flowing fashions on the women, and dapper suits on the men by costume designer Nancy Spirito reflect this spirit.
“I would like to take the time to thank all the people who went into making this show so special,” says Griffin. “From my endlessly hard-working and brilliant stage manager Vicki, to our tremendous costumer Nancy, our gifted set designers/construction folks, all our dedicated volunteers, the beautiful and talented cast for inspiring me to give my all every day at rehearsals. The great Noël Coward for writing this incandescently funny, yet insightful play almost 100 years ago. And much gratitude to Jim, Lloyd, and Bryan for taking a chance on me. Also, much love to Ron and Leslie Martin, and Terry Shea for planting the seed of this production in me a few years ago. To Jamey Patten, Sara Nagle, John Harley, and Warren J. Usey for showing me its potential.”
The opening scenes may seem unnecessarily verbose, but it’s a small matter considering this production’s intelligent interpretation and cohesion. The brilliance of Coward’s stinging dialogue steadily heats up, creating more laughs as the play progresses. Come see this sophisticated comedy about love, marriage, and the riveting messiness of relationships. You’ll admire the aplomb of this fun and feisty play!
Artic Playhouse presents Private Lives through May 3. For more information, visit thearcticplayhouse.com/.