I'm about to make a confession which may diminish my (admittedly limited) credibility as a theater “aficionado” … I have neither seen nor read Noel Cowards' “Private Lives.” Long regarded as one of the “staples” of theater and a play which somehow manages to make it on “top ten” lists for most theater professionals lists, I simply never had the motivation or interest in the show.
Having seen the recent production at the Shawnee Playhouse I wish I had gotten to know this play sooner. I will confess that I disliked the ending of the play – having enjoyed the production up until that point - but this is a problem with the script and not the production at Shawnee. The production breathes so much life into this work that it is impossible not to enjoy every moment happening on stage. The production has embraced this work and given so much devotion which makes for a thoroughly enjoyable evening of theater.
The play opens in a resort in Deauville, France – overlooking the English Channel. We are introduced to devil-may-care Elyot Chase (Patrick Bresnyan) and his new bride Sybil (Sarah Landstrom) celebrating the first evening of their honeymoon. Little do the newlyweds realize that Elyot's ex-wife Amanda (Juliet Dunham) and her new husband Victor (Dan Eash) have checked into the room next door and share a terrace – a situation which leads to Elyot and Amanda discovering they are staying next to each other and hoping to immediately leave the hotel before resigning themselves to staying and … well … to say any more would truly ruin the plot of this intricate and amusing story.
The marvelous cast breathes so much effervescence into Noel Cowards' words that ginger ale would probably feel like champagne after this cast finished with it. Their wry British characterizations are all “spot on” and no one falters at any moment. Each character is clearly defined and delivered with sheer energy and enjoyment by the actors. The “playboy” Elyot delivers each line with bemusement – even when angry. The confident Amanda successfully comes across as more of a “modern woman” than overbearing. Poor Sybil never drifts into that annoying realm of “whiney” and Victor is a perfect mixture of pomposity and vulnerability. Even though the characters are – at times – thoroughly unlikeable, the actors manage to play their roles with a balance of sincerity and humor which keeps the audience on their side.
Through the deft writing of Noel Coward and direction by Michael Gilbert the show easily flips from vindictive and even downright abusive to romantic depths of sentimentality with an ease that (somehow) makes perfect sense and is a joy to watch. The “climactic” discussion between the ex-lovers in the second act builds to a crescendo that most symphonies would be envious of. However, the actors never overpower each other, instead playing off their fellow actors perfectly. The tender moments are as believable as the tense ones and everything is served with a “sensibility” which only British humor could manage.
As the show progresses through the three acts we delve into the psyche of the two main characters and the complications with their current spouses. Cowards' dry, witty conversations are delivered by the cast with energy and charm. They never slow down long enough for the show to feel muddled. Even the French speaking maid Louise (Amy Cramer – who doubles as the play's stage manager) brings laughs with her Parisian inspired haughtiness.
The two main characters banter, bicker, argue and also engage in lovingly romantic conversations that shift so quickly one might think it was a kind of theater game where someone offstage were shouting “anger” immediately followed by “love” which the actors on stage had to obey. They do this with such credibility that the audience has no choice but to ride along on their wild emotional ride with them – which we cannot help but enjoy.
All five cast members work with (and against) each other wonderfully. Everyone has at least one moment on stage when Coward allows them their own moment to shine and each actor embraces these moments. The energy and pacing of the cast propels the show at a pace which never allows it to get dull and the chemistry of all the actors works perfectly regardless of if they are in love with each other, despising each other, or simply trying to maintain “proper civility” which the British are known for.
The set for act one is a simple “shared” balcony at a French resort while the second and third act take place in a photographer’s loft apartment in Paris. The costumes were period appropriate and featured everything from lounge wear to gorgeous evening gowns. The lighting was simple but effective and the musical cues add to the romance (and also tension) of the comedy.
The Shawnee Playhouse's production of “Private Lives” runs through October 25 and is definitely worth the trip. It is a funny, enchanting and witty evening of entertainment. For tickets call 570-421-5093 or visit www.theshawneeplayhouse.com.