The initial showing of Noel Coward’s Private Lives debuted in 1930 at the King’s Theatre in Edinburgh, with Coward starring as the leading man, Elyot.  Originally in three acts, the play was a commercial (yet not critical) triumph and has gone through many revivals in the years since. In its latest iteration, currently playing at the Donmar, it has its own modern-day talents at the helm, with the likes of Stephen Mangan and Rachel Stirling playing the divorced couple.

Private Lives is said to be an observation of Coward’s own view on married life.  We begin with two adjoining terraces at a beachside hotel, with two couples on their honeymoons. Despite their turbulent previous marriages, which Elyot (Mangan) and Amanda (Stirling) discuss at length with their respective new lovers, they come across each other and fall madly in love, despite being the pair who had previously divorced from one another (you can’t blame them; they do have eerily similar tastes in honeymoon destinations).  

Mangan and Stirling have a wonderful chemistry together. The moment they both discover they are honeymooning with their ex-lover on the adjacent balcony is comedy acting at its finest.  The first act is dominated simply by their witty dialogue bouncing back and forth.  However, their respective partners Sybil (Sarah Carmichael) and Victor (Sargon Yelda) are also given time to shine and to begin with are a wonderful contrast to such tense passion and foreboding.  The love between both couples begins so insincerely: you know they are doomed from the start.  It’s worth mentioning, after the interval, that Mangan is given the opportunity to show off his piano skills; wooing his lover with a medley including ‘Just The Way You Look Tonight’ and it’s so easy to see how Coward would have played the part. During the second act, things also begin to change, with the former couple reverting to their old ways, including some uncomfortable domestic violence. This has not aged well. Although it might represent the many frustrations and layers within Elyot and Amanda’s relationship, it does not sit entirely comfortably. Without any form of didacticism running through the narrative, its supposed comedic qualities may not hit the same notes with today’s audiences, compared with audiences from years gone by. 

The art deco throughout the set is simply sublime and the costumes are enviable.  To begin with, we are on a beautiful terrace with a blue fabric underneath, and the lighting (by Jack Knowles) bounces off it to give a sea-like quality.  Just before the interval, the fabric appears to blow away, revealing a gloriously glamorous Parisian flat.  To the left and right of the stage in the circle are a cellist and violinist who are immersed into the story and are repeating the couple’s wedding song throughout, with Elyot claiming ‘they have a small repertoire’.

Private Lives has many wonderful moments. With a simple, witty and often hilarious script and strong performances from such a small cast. It should be outstanding and yet leaves you feeling a little uncomfortable. Maybe that’s the point; you’ll have to go and see for yourself.

*** Three stars

Reviewed by: Sophie Eaton

Private Lives plays at the Donmar Warehouse until 27 May, with further information here.