Private Lives
Sat, 26 Nov 2011, 12:24 pmGordon the Optom1 post in thread
Private Lives
Sat, 26 Nov 2011, 12:24 pm‘Private Lives’ is a sophisticated comedy written by the ‘very English dramatist’ Noel Coward. Whilst in Shanghai, Coward caught ‘flu and was confined to bed for a couple of weeks. In this time he sketched out the storyline and main framework of this play, finishing the script after only a further four days. Coward strongly believed that the theatre exists for people's amusement, not to teach or reform them.
Although first produced in Scotland eighty years ago, such is the quality of the writing and dry humour that it remains a theatrical standard everywhere. Initially the second act was banned by the Lord Chamberlain as being too risqué. Coward appealed, acting out the scene in court and won permission for it to be performed.
Now presented by Onward Production it is playing in the main auditorium at the Subiaco Arts Centre, 180 Hamersley Road, Subiaco. Starting at 7.30 pm, the performances run until Saturday, 10th December, with one matinee at 2.00 pm on Saturday, 3rd December.
At the French resort of Deauville, the arrogant and stiff upper lipped, Elyot (Michael Loney) and his quiet, fawning wife, Sibyl Chase (Michelle Fornasier) have arrived at their honeymoon hotel. Both are now, embarking upon their second marriage, hopefully starting afresh with a new, reliable and trustworthy spouse. Sybil, being slightly jealous, is very curious to know about Elyot’s first wife however the details are not forthcoming.
Their sea view balcony is adjacent to the next door suite that is also occupied by a honeymoon couple, the nervous, wet Victor Prynne (James Helm) and his domineering wife, Amanda (Kirsty Hillhouse). Victor is still incensed by Amanda’s tales of the bounder who was her cruel first husband.
Co-incidentally, both couples had previously experienced years of constant jealousy and arguments before being divorced.
One night when Elyot is setting out the drinks on the balcony table he hears a distant orchestra play ‘Some day I'll find you’, and as he fondly recalls the memories linked to the tune, Amanda on the next balcony starts to hum the melody. Elyot’s eyes open wide and he spins around to find his ex-wife singing the tune.
Should he ignore her, acknowledge her presence or try and keep his new wife from meeting her?
The second Act opens in a luxury apartment in Paris, where one of the couples is locked in a love-in. There is no one to bother them except the shuffling, miserable maid (Rosemarie Lenzo) who mutters and curses in French.
The part of Elyot was originally played by Coward himself, and Michael’s aloof characterisation is perfect. The brilliant delivery of his short, barbed and punchy lines is in the staccato style, unique to Coward. Even after all of these years, the script is beautifully observed, and still as witty and relevant today. After Michael’s appearance in ‘The Goat’ and the final Act of this play, perhaps anger management classes may be a good Christmas present.
Director Marcelle Schmitz has gathered the perfect cast. They all have the ideal Coward, comedic stagecraft, beautiful pace and terrific handing of the bighting, eccentric droll humour which carefully disguises the absurd misfortunes and troubled passions of their private lives.
Set Designer Bryan Woltjen has created two fine-looking balconies with all the trimmings, but it was when the curtains opened on the second Act that there was an audible gasp from the audience at the strikingly attractive apartment. It was a clever blend of the Inter-War Functionalist and Art Deco styles, which are characterised by the combination of asymmetrical and smooth geometric rudiments. The furniture and props, from ceiling lights to wooden floor design, were flawlessly considered.
Steve Nolan’s costumes are wonderful. The dapper suits of Elyot contrasted to the tweeds and pencil moustache of boring Victor. The fantastic, silk gowns of Amanda, again in contrast to the colourful, but smart, dresses of Sybil. The ladies hairstyles had the thirties bob curls and long-roller waves.
Andrew Portwine’s lighting successfully tried out rarely-used coloured filters, such as mauve and pinks for scenery illumination. Stunning.
Ben Collins’ sound design was accurate, at times making one wonder if effects like the piano playing and distant noises-off were real or recorded.
It was good to meet theatre legends, Jenny Mc and Faith, reminiscing on their 1971 Perth production.
Coward is tricky to perform and can often end up as a wishy washy attempt; this however was Coward at its best, with a laugh every few second and political incorrectness that will make you gasp. The depth of the acting was amazing. Sensibly priced and still brilliantly fresh.
‘Private Lives’ is a sophisticated comedy written by the ‘very English dramatist’ Noel Coward. Whilst in Shanghai, Coward caught ‘flu and was confined to bed for a couple of weeks. In this time he sketched out the storyline and main framework of this play, finishing the script after only a further four days. Coward strongly believed that the theatre exists for people's amusement, not to teach or reform them.
Although first produced in Scotland eighty years ago, such is the quality of the writing and dry humour that it remains a theatrical standard everywhere. Initially the second act was banned by the Lord Chamberlain as being too risqué. Coward appealed, acting out the scene in court and won permission for it to be performed.
Now presented by Onward Production it is playing in the main auditorium at the Subiaco Arts Centre, 180 Hamersley Road, Subiaco. Starting at 7.30 pm, the performances run until Saturday, 10th December, with one matinee at 2.00 pm on Saturday, 3rd December.
At the French resort of Deauville, the arrogant and stiff upper lipped, Elyot (Michael Loney) and his quiet, fawning wife, Sibyl Chase (Michelle Fornasier) have arrived at their honeymoon hotel. Both are now, embarking upon their second marriage, hopefully starting afresh with a new, reliable and trustworthy spouse. Sybil, being slightly jealous, is very curious to know about Elyot’s first wife however the details are not forthcoming.
Their sea view balcony is adjacent to the next door suite that is also occupied by a honeymoon couple, the nervous, wet Victor Prynne (James Helm) and his domineering wife, Amanda (Kirsty Hillhouse). Victor is still incensed by Amanda’s tales of the bounder who was her cruel first husband.
Co-incidentally, both couples had previously experienced years of constant jealousy and arguments before being divorced.
One night when Elyot is setting out the drinks on the balcony table he hears a distant orchestra play ‘Some day I'll find you’, and as he fondly recalls the memories linked to the tune, Amanda on the next balcony starts to hum the melody. Elyot’s eyes open wide and he spins around to find his ex-wife singing the tune.
Should he ignore her, acknowledge her presence or try and keep his new wife from meeting her?
The second Act opens in a luxury apartment in Paris, where one of the couples is locked in a love-in. There is no one to bother them except the shuffling, miserable maid (Rosemarie Lenzo) who mutters and curses in French.
The part of Elyot was originally played by Coward himself, and Michael’s aloof characterisation is perfect. The brilliant delivery of his short, barbed and punchy lines is in the staccato style, unique to Coward. Even after all of these years, the script is beautifully observed, and still as witty and relevant today. After Michael’s appearance in ‘The Goat’ and the final Act of this play, perhaps anger management classes may be a good Christmas present.
Director Marcelle Schmitz has gathered the perfect cast. They all have the ideal Coward, comedic stagecraft, beautiful pace and terrific handing of the bighting, eccentric droll humour which carefully disguises the absurd misfortunes and troubled passions of their private lives.
Set Designer Bryan Woltjen has created two fine-looking balconies with all the trimmings, but it was when the curtains opened on the second Act that there was an audible gasp from the audience at the strikingly attractive apartment. It was a clever blend of the Inter-War Functionalist and Art Deco styles, which are characterised by the combination of asymmetrical and smooth geometric rudiments. The furniture and props, from ceiling lights to wooden floor design, were flawlessly considered.
Steve Nolan’s costumes are wonderful. The dapper suits of Elyot contrasted to the tweeds and pencil moustache of boring Victor. The fantastic, silk gowns of Amanda, again in contrast to the colourful, but smart, dresses of Sybil. The ladies hairstyles had the thirties bob curls and long-roller waves.
Andrew Portwine’s lighting successfully tried out rarely-used coloured filters, such as mauve and pinks for scenery illumination. Stunning.
Ben Collins’ sound design was accurate, at times making one wonder if effects like the piano playing and distant noises-off were real or recorded.
It was good to meet theatre legends, Jenny Mc and Faith, reminiscing on their 1971 Perth production.
Coward is tricky to perform and can often end up as a wishy washy attempt; this however was Coward at its best, with a laugh every few second and political incorrectness that will make you gasp. The depth of the acting was amazing. Sensibly priced and still brilliantly fresh.