By Leah Pollard, Third Year, Politics and Sociology
Never having read Noël Coward’s classic Private Lives proved no disadvantage when sat before the brilliant and effective staging that set the scene so beautifully. The set, costumes, and props were lit with exciting hues of blue, orange, and pink, accurately foreshadowing the striking and dazzling production to come.
‘The sweet and naïve depiction of the young damsel evoked echoes of Frenchy from the 1978 film Grease’
The vibrant colour palette even bled into the otherwise classic, 1930s hair and styling of characters Amanda (Pepter Lunkuse) and Sibyl (Sade Malone), the long-suffering partners of the anti-hero Elyot (Chirag Benedict Lobo). This was a subtle yet highly enjoyable detail that symbolized the bridge between playful, modern interpretation and the near-century-old play. In particular, Malone’s bubblegum-blue wig cleverly mirrored her colourful and bubbly performance. The actress made impressive use of her face and body in aid of the physical comedy central to the play. In particular, she demonstrated an extreme dexterity in her eyebrows alone, using them to signal Sibyl’s doting infatuation. The sweet and naïve depiction of the young damsel evoked echoes of Frenchy from the 1978 film Grease - perhaps aided by that bubble-gum wig.
Sibyl’s comedic counterpart, Victor (Ashley Gerlach), was equally delightful to watch. Gerlach’s impeccable comedic timing, eccentricity and campy machismo created a wonderfully loveable Victor. With ridiculous yet meticulous mannerisms, he delivered a stand-out performance that could have served as a welcome comedic relief had the production not been so jovial throughout. With this in mind, the actor's talents were somewhat underutilized as his slapstick performance was not a contrast to seriousness but simply another layer of silliness.
This unwavering unseriousness limited the success of the production overall, offering less depth and complexity than the script itself. Director Tanuja Amarasuriya, aimed to showcase the ‘fabulous glamour and screwball comedy’ of the 1930’s while leaning into the supposed innate queerness of the play. Yet in doing so, more obvious themes of traditional gender politics and domestic abuse were pushed aside, despite being so fundamental to the text.
The unseriousness also affected the near-musical elements of the production. Pepter Lunkuse’s ‘making it rain’ during a Charleston number, for example, immediately undermined the historic setting of the scene. Moments of song and dance were overly ambitious considering their clumsy delivery and minimal effect. This included the opening song, which felt particularly out of place next to the strong opening dialogue. Similarly, fight scenes and stage combat were unpolished and unconvincing, perhaps a deliberate choice in line with the jovial tone, though unsatisfying nonetheless.
Some success came from Amarasuriya’s interpretation including the hilariously flamboyant Victor. However, similar depictions of the abusive Elyot proved far less appropriate given his traditionally masculine and violent nature.
‘A choice that regrettably matched George Galloway’s performance in the Big Brother house’
Elyot (Chirag Benedict Lobo) was undoubtably the most difficult character to portray. The challenge, however, was met fiercely by Chirag Benedict Lobo who offered a strange yet amusing physical approach to the role. In the second act, he seductively crawled towards Amanda (Pepter Lunkuse) his ex-wife and mistress, purring like a cat – a choice that regrettably matched George Galloway’s performance in the Big Brother house – yet still demonstrated Lobo’s commitment to Amarasuriya’s vision.
Lunkuse, too, impressively embodied the challenging character of Amanda. Her strong and witty characterisation grounded the play, with a subtle moment of tears in Act One offering the most compelling insight into Amanda’s humanity. In these rare moments of sincerity, Lunkuse anchored the farce, recontextualizing the play in emotional reality.
This experimental production of Private Lives presents an ambitious and imaginative reinterpretation of a widely familiar play. While imperfect, the cast’s performances were constantly impressive and amusing. From the crimson curtains to the characterisations, the production remained gloriously colourful and bright.
The show is on until the 1st November, so get your tickets now.
Featured image: Bristol Old Vic / Pamela Raith
Will you go and see ‘Private Lives’?
