Private Lives

"Private Lives" at The Music Box, November 15, 2011

This London transfer brings Kim Cattrall back to the Rialto for the first time in 25 years, leading this production of the Noel Coward classic.  Her Amanda was hailed in London and she arrives in New York with a new Elyot in the very handsome Paul Gross.

The crossing seems to have had an impact on the production.  I will confess that there was much to live up to in my eyes, having basked in the glorious revival of 2002 with Alan Rickman and Lindsay Duncan. (Unfair?  Perhaps.)

Mr. Gross' Elyot succeeds best among this cast, urbane, elegant and sophisticated.  Lacking is any sense of chemistry between him and Ms. Cattrall's Amanda.  Ms. Cattrall, rather than rising to meet Mr. Gross' level of sophistication, goes instead for the physical laughs with a sense of awkwardness that undercuts the lyrical writing in the first act.  Fortunately, it's in the power of the writing that this approach still works.

The supporting cast also arrives with mixed results.  Anna Madeley is also a new addition and dithers beautifully as Elyot's new wife, Sybil.  She's an excellent physical match to Ms. Cattrall, even drawing entrance applause by an eager audience who didn't realize that it wasn't Ms. Cattrall.  The more curious appearance is the styling and physical appearance of Simon Paisley Day as Victor.  The role is written and usually cast with a more handsome actor who favors the actor playing Elyot.  A brief internet search did reveal a more consistent appearance with the London production's Elyot, Matthew MacFadyen.  Nonetheless, Mr. Day's Victor is much more of a stick-in-the-mud than I had expected.

It's unclear why director Richard Eyre couldn't help these actors find some chemistry.  Each are certainly capable performers, but never manage to deliver any kind of spark.  Even Anna Madeley as Louise, the maid, fails to deliver any laughs, instead merely strolling through the carnage with disinterest.

Rob Howell's costumes effect the period beautifully, but his sets didn't quite hit the mark for me.  Ms. Cattrall's costumes are particularly exquisite, first the bias-cut, champagne silk gown in Act 1, followed by the lovely navy suit in Act 3.  The Deauville balcony felt a bit skimpy where Amanda's Paris apartment stretched credulity in its excessive splendor of art deco chinoise in silver and verdigris.  The aquarium in the apartment is particularly impressive, echoing the circular theme of the room.  It's a gorgeous set, but hardly Amanda's Paris hideaway. David Howe's lighting draws more attention to itself than truly effective lighting should - too many sharply honed edges in selected zones on the stage.

Private Lives is on a limited run through February 5, 2012.  Get tickets here.

Noel Coward's Brief Encounter

"Noel Coward's Brief Encounter" presented by Kneehigh Theatre at St. Ann's Warehouse, December 8, 2009

(photo by Pavel Antonov)

In a lovely production mixing film, theatre and British music hall style numbers, the tale of two noble lovers comes to life in Brooklyn.  Director Emma Rice has adapted the classic 1945 film, which actually began as part of Noel Coward's cycle of ten one-acts, "Tonight at 8:30" entitled "Still Life" from 1936.

The event begins in the lobby as the ensemble, dressed as uniformed movie ushers, entertain the waiting audience with musical numbers from the 1930s and 1940s, accompanied by a snare drum, ukelele, and trumpet. 

Ms. Rice's staging makes great use of simple stage elements, which reminded me a bit of the staging technique used by Maria Aitken in another British film adaptation of "Alfred Hitchcock's The 39 Steps" in 2008.  She does take a slightly different approach, using black and white film sequences which the actors appear to jump in and from for various transitions.  The film relies heavily on Rachmaninoff's Piano Concerto No. 2, though Ms. Rice makes quite judicious use of its lush music, at one point using a choral vocalise of one section when emotion runs high.  The impact is breathtaking.

Leading the cast is a truly lovely and touching performance by  Hannah Yelland as Laura.  There's a bit of Dorothy McGuire about her, which adds a sweet layer of vulnerability.  Tristan Sturrock's Alec, dashing and handsome, matches Ms. Yelland's intensity, but edges near melodrama from time to time.  Their story is cleverly supported by an eclectic ensemble chorus playing all of the supporting roles to often hilarious effect. Special mention goes to Dorothy Atkinson, small in stature, but bringing in some of the biggest laughs of the evening.

The show has been extended to run through January 17, 2010.

Private Lives Revealed: The Letters of Noel Coward

"Private Lives Revealed: The Letters of Noel Coward" at St. Ann's Warehouse, December 7, 2009

(photo from Library of Congress collection)

An evening of highlights from his book The Letters of Noel Coward, Barry Day (looking a bit like a Springer Spaniel with his Dickensian sideburns brushing his collar) narrates as Anna Bergman, Patricia Conolly, Edward Hibbert, and Dana Ivey read as Mr. Coward and his correspondents, accompanied by Steve Ross on piano.

Mr. Day opened the evening with a quote from Mr. Coward's dear friend, Lord Mountbatten on the event of Coward's seventieth birthday:

"There are probably greater painters than Noël, greater novelists than Noël, greater librettists, greater composers of music, greater singers, greater dancers, greater comedians, greater tragedians, greater stage producers, greater film directors, greater cabaret artists, greater TV stars. If there are, they are fourteen different people. Only one man combined all fourteen different labels – The Master."

Mr. Day did not dive particularly deeply for this presentation, compared to the depths he explored in his book.  It's very much a theatrical focus, starting with letters to and from Mr. Coward and his beloved mother, Viola. Things move quickly as his career advances, to his relationship with the Alfred Lunt and Lynn Fontanne.  Gertrude Lawrence is up next, followed by a quick dish on Mary Martin, who clashed with Noel over his "Pacific 1860."  A word of advice to her followed on what NOT to say to Princess Margaret.

There's a hop and a skip on to "Stritchie" with a bon mot or two about Dietrich and Garbo.  A couple of drive-by barbs take aim at David Niven, Clifton Webb and Ian Fleming as his life shifted to Jamaica.  I was sorry that they spent so little time on Mr. Coward's intelligence activities during WWII, since that makes up a major portion of the book.  Only a mere mention of his time in Paris felt like such a discount of the years he spent traveling the world on behalf of his country and the war effort.  When I read it last summer, I was really surprised and touched over his affection and devotion to "Mother England."

Mr. Hibbert managed nicely, reading as Mr. Coward.  Ms. Ivey fared better as Viola than Ms. Stritch and Ms. Conolly's Gertie was lovely.  The songs were interspersed effectively, but I thought they should have ended with the more upbeat "I Went To A Marvelous Party" instead of  "The Party's Over," though the sentimentality of the latter may have been truer to what Mr. Coward may have done himself.