Private Lives dives in with two cross-examinations on the hotel balconies of two couples' respective honeymoon suites.
The first couple, Sibyl and Elyot (Erin Lindsey Krom and Bruce Randolph Nelson), has just arrived at the hotel, and Sybil is interrogating Elyot about his ex-wife and his honeymoon with her. It rapidly becomes evident that Elyot and Sybil are incompatible (Krom nails Sybil's vapid pleasantry from the beginning as Nelson establishes Elyot's trademark smirking retort).
An identical scene plays out in reverse next door with Amanda and Victor (Deborah Hazlett and Peter Wray); Victor inquires after Amanda's ex-husband and her honeymoon with him. Wray skillfully lets the audience in on the play-long joke that Victor is all bluster and no bite. During this scene the audience realizes: surprise! Amanda's ex-husband is Elyot, coincidentally honeymooning right next door.
The ex-lovers discover this in the following scene and rekindle their love. In fact, the absurd rapidity of their progression from pleasantries to a decision to flee together could easily become farcical, yet Hazlett and Nelson's linguistic choreography is so nimble that though they can't make the situation credible, they do make the scene so fun to watch that the audience stops caring whether it's credible.
In fact, it is mainly Hazlett and Nelson's skills that keep the second act afloat. While still enjoyable, it loses pace. This is mainly due to the writing; the stakes are relatively low. This production could have done more to play up Amanda and Elyot's quarrels to make the audience more invested in the possibility that one of these arguments could end their bliss.
The few false steps of the production are in this act: it's not quite believable when they reminisce about a "row" in Venice; the comedy of Sybil and Victor walking in on a pillow fight isn't fully exploited. Yet overall, Hazlet and Nelson's brilliant comedic chops keep the act entertaining. Nelson's mocking falsetto is funny every time, and Hazlett's coy composure never falters. Their exquisite chemistry is a joy to watch.
Krom and Wray get some time to shine in the third act. They're hilarious when they argue, each in defense of their current spouse. Wray's expression when Amanda describes the affair as going "from spark to flame" is priceless. Krom has a great moment when Amanda tells her, "go to hell" and she walks pertly into Victor's room.
Sophie Hinderberger (the maid), brings some excellent moments of comedy during her appearances in the apartment, expressively sputtering in French.
The actors in this play are top-tier, and Noel Coward's work is a witty and spectacularly fun ride.
