Bold, charming and full of linguistic delights.
Private Lives, Noël Coward’s 1930 comedy of manners, is given a fresh and lively outing by The Lichfield Players, but loses none of the crucial and expected style and delivery that Coward is known for.
Played against a simple, uncluttered and functional set that allows focus to he placed on the interactions between characters, the action moves fluidly between the various exchanges. These themselves move from undying love to full on, face-to-face bickering within seconds.
Coward cast himself as Elyot Chase in the original production – a perfect vehicle for his legendary, acerbic wit and vocal delivery. It’s a tough ask for any other actor to take on the role without sounding like a Noël Coward impersonator. Marcello Pupino gives it a good shot though, loyally sticking to Coward’s trademark vocal precision and aloof physicality while putting his own stamp on the proceedings. He suits a smoking jacket too, which presumably helped at the casting stage.
Without giving anything away, the plot revolves around a divorced couple – Elyot and Amanda (Shu Shah) – unexpectedly honeymooning at the same place with their new spouses. Sparks inevitably fly as old feelings come back to the surface and threaten to spoil the party for new partners Sybil (Freya Sholl) and Victor (Matt Beebee). The course of true love, it seems, is never a smooth one.
Alongside believable chemistry, the key to the play is its attention to the writing style and its associated delivery. Immaculate diction, perfect timing and varied pace on the lines are needed across the board for the dialogue to have the desired effect. It is attempted well here, especially by Pupino, who largely masters the play’s lion’s share of dialogue with appropriate wit and panache.
The chemistry between the couplings is certainly achieved, at times more effectively between certain matches.
Freya Sholl brings a sweet vulnerability to Sybil while Matt Beebee as Victor plays increasing frustration well as it becomes clear his new bride may be looking to relight an old flame.
Shu Shah as Amanda gives as good as she gets from Elyot, providing a slightly contemporary edge to her delivery and giving the character touches of empowerment along the way.
And lest we forget the action is set in Paris, we have the inevitable French Maid, played with a nice degree of fluster and with some impressive language skills by Mandy Davies. There’s even the odd “merde” thrown in for good measure, drawing a titter or two from the audience.
What is striking – almost bewildering – about this play is the speed at which characters go from exchanges of loved-up sweet nothings to knocking seven bells out of each other… and then back to being kissy kissy. Perhaps that was just the way in high society, but it certainly makes for an emotional roller coaster.
The play works well in the more confined space of the Studio, allowing expressions and nuances to be picked up easily. There’s no hiding place, but Director Mike Franklin uses the intimacy of the surroundings effectively.
The Lichfield Players have always set a high bar for Amateur Theatre in the region and this is another impressive offering.
Bold, charming and full of linguistic delights.
For more information about The Lichfield Players, go to lichfieldplayers.co.uk