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Private Lives
Music Box Theatre, NYC - Nov. 2011
Review by John Kenrick
Fans of Noel Coward, rejoice! The Master's comic masterwork Private Lives
is back on Broadway in a production that is sure to delight both
longtime devotees and those lucky enough to be first-time viewers.
I say "lucky" because any theatregoer is fortunate indeed
to see a real star dazzle so brightly. Sex in the City's Kim
Cattrall is the star attraction in this revival, and she portrays
the complex Amanda with an irresistible mix of high style, steamy sex
appeal, physical comic flair and overall brilliance. As a result, this
character's treacherous shifts from bursts of sparkling repartee to
outright gutter
brawling become readily believable, allowing Coward's farce to
spotlight the outrageous contradictions that often lie within people's
private lives. Cattrall can drip class wearing nothing more than a tightly
folded towel, and breathe palpable fire while draped in billowy silk pajamas. I have
seen many stars take on this perplexing role with varying degrees of
success, but have
never seen anyone capture every facet of Amanda's seeming contradictions
more effectively. It has been a quarter century since Ms. Cattrall was last on
Broadway (in the 1986 production Wild Honey), and one hopes she
will return swiftly and often.
The same can be said for Cattrall's hunky co-star Paul Gross (of TV's Due
South and the hilarious Slings and Arrows), who makes an extremely impressive Broadway debut as Elyot,
the ex-husband who unintentionally bumps into Amanda while both are
honeymooning with new spouses. Gross combines matinee idol
looks and a powerful stage presence with exceptional comic timing,
making him the perfect foil for Cattrall. For once, there is no question
that that these star-crossed characters are not just drawn together by a
common gift for wit, but also by irresistible sexual attraction. Their
chemistry is undeniable whether exchanging venomous verbal barbs,
sharing passionate embraces, or murderously hurling art deco bric-a-brac
at each other. The fact that Mr. Gross has until now limited his stage
work to Canada gives American fresh reason to be a tad envious of our
northern neighbors.
Director Richard Eyre has done a superb job of giving us
access into
the main character's hearts while still letting farce reign supreme.
True, the lesser characters are not all that well served here. Anna
Madeley never gets to make Sybil more than a whiny annoyance, and Caroline
Lena Olsson is given no comic opportunities as the French maid.
However, Simon Paisley Day plays Amanda's second husband Victor
to stodgy, blustering perfection, and his third act confrontation with
Elyot is one of the surprise highlights of this production. Although Rob
Howell's first act Riviera hotel set is so frowsy one suspects it
was assembled during a remnant sale at Home Depot, his second act set
for Amanda's Paris apartment is an eye-popping knockout -- if the
extraordinary contrast was intentional, it certainly pays off. Howell's
costumes are pure period perfection, and everything is enriched by David
Howe's inventive lighting and Alison De Burgh's highly
effective fight sequences.
Most importantly, Eyre and his cohorts clearly understand what Coward
was up to when he wrote this play. Yes, it is a rollicking farce, but it
also has genuine depth. As Amanda and Elyot teeter between romance and all
out war, they share a devotion to triviality was their preferred defense
against the uncertainties of existence. When, after the insane ups and
downs, they look at one another with genuine affection, it is because they
realize that, for better or worse, they are truly soul mates -- fated to
passionately clash and cling till death do them part.
Whether you already know and love this play or have never seen a
Coward comedy before, I urge you get yourself into the impossibly
handsome Music Box Theatre and enjoy this exceptional Private Lives.
People will be justifiably praising this hilarious production and the
stylish performances of Cattrall and Gross for many years to
come.
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