This one-act show is well cast, but a little rough around the edges; a rare example where the sum of its parts is greater than the whole.Rating
Good!
It’s been nearly a century since Noël Coward’s Private Lives was first performed, and would his observations of Britain in the 1930s still apply in 2026? Roaring Screaming Productions decide to meet in the middle, by setting their production in the 1980s: Thatcher, big hair, Sony Walkmans, that random David Bowie and Mick Jagger cover of ‘Dancing in the Street’…
An adulterous tale with a twist, Private Lives follows two honeymooning couples staying at the same hotel. Sibyl (Madeleine Curry) and Victor (Max Fleming) are young and in love with their respective fiancés, Elyot (Joe Poole) and Amanda (Rosie Dalton). The latter two (once tumultuously married to one another) seem less keen on their upcoming engagements, and when they meet by chance on a hotel balcony, the spark is almost immediately rekindled.
Dalton anchors the production. She is simultaneously unhinged, charming and frightening as Amanda. That said, there is no weak link in the cast. They all bring flair to some otherwise quite dull characters.
Coward’s script is poor and predictable, and this production is constantly at odds with it. That is not to say this show fails – far from it – but it does open the door for some dramaturgical inconsistencies; small things like the line “should I bring some cocktails out?” is said when there are already cocktails on the table. From a broader perspective, some moments are original and captivating whilst others fall too far into trite, comedy of manners’ stereotypes. Director Georgia Geupel brings out the best in her actors during the two person scenes, but some of the ensemble interactions feel contrived. This is not helped by the interval timing, which makes this piece feels like two separate plays: one production consisting only of duologues, and one – much shorter – production where everyone is in the same room.
There was also more that could have been done with props and costumes to convey the period, in fact, one can’t help but wonder why they chose this particular decade in the first place. The 80s vibe definitely adds to the cheesiness and melodrama, but it doesn’t particularly change the character dynamics; especially when Elyot’s views are so disgustingly archaic.
The set plays it safe but is nonetheless effective. We begin on two cramped balconies that make the Old Red Lion Theatre an even more intimate setting and helps demonstrate that each character is trapped from the start. When Elyot and Amanda decide to run away together, the action transfers to a spacious living room environment. This initially symbolises their newfound freedom, but it soon becomes a large battleground for a pretty darn toxic relationship. As the show becomes increasingly physical, we see a number of exhilarating movement and fight sequences. How the audience don’t get hit by flailing arms or cassette discs, I’m not quite sure, it certainly keeps us immersed though!
Roaring Screaming’s take isn’t focused only on the literal and figurative punches that are thrown, but also on what is not being said. During one awkward silence, the four leads take a perfectly simultaneous sip of their teas. This encapsulates the excruciating British etiquette that means huge domestic issues are never resolved.
All in all, this is an amusing and fast-paced revival. Taking on such an overrated classic is a brave decision, but thankfully the performances were far from Coward-ly.
Written by: Noël Coward
Directed by: Georgia Geupel
Presented by: Roaring Screaming Productions
Performed by: Madeleine Curry, Joe Poole, Max Fleming, and Rosie Dalton
Private Lives has completed its run at The Old Red Lion Theatre.
