PRIVATE LIVES

Private Lives is by no means an unknown work, but it holds up well when performed as it was intended. The Rubicon theatre accomplishes that well with this production.

Since 1930, Private Lives has been a staple in the seasons of theatres large and small. Its plot has been played over and reformatted so many times that it seems like the main themes of conflicted love and second chances have always been a part of us, and the characters have become permanently engrained in our being. The now-divorced Elyot (Joseph Fuqua) and Amanda (Julie Granata) are honeymooning abroad in the carefree and loving arms of their new spouses Sibyl (Alyson Lindsay) and Victor (Matthew Floyd Miller). Tossed by the winds of traditional Coward fate, they again come face to face on the balconies that their newlywed suites conveniently share. Almost at once, they are made quickly aware that their new marriages fall well short of their still-smoldering love for one another. In a reluctant fit of passion, they flee together to Paris. Lo and behold, their second chance together is filled with pitfalls as they are soon joined by their abandoned better halves. The insults and sometimes bits of furniture fly as the difficulties of lovemaking in the modern world are brought to bear in hilarious fashion.

The Rubicon Theatre has long been a strong artistic venue. They strive to appeal to a wide range of audiences and consistently produce shows that tend to be in the upper tier among Ventura County Groups.
Private Lives fits well with that reputation. The acting is strong, fast paced, well-timed, and the cast has a strong understanding of the Coward style. The set is effective and well thought out, starting with the balcony of the two hotel suites making use of one half the stage during the first act. After intermission, the wall of the hotel suite was taken down and the sprawling Paris plat takes over the full stage. Each location is imbued with the proper feel and nuances of the period. The costumes show not only time and place, but class as well, and do a fine job of contributing to each individual character. The palette of both the set and the costumes fit well the overall tone of frivolity in the show.

The first act was marred by a few line stumbles that, though well covered, remain obvious when performing this well-known Coward work. Likewise, the ill-placed railing of the first act balcony set blocked the view from the first two rows and is typical of the consternating decision-making processes that have hampered numerous Rubicon productions in the past. Other oversights such as inconsistencies in the physical confirmations, noiseless slaps, and a general haughtiness among the theatre staff combined to leave one with somewhat of a feeling of carelessness in a production that otherwise was very enjoyable.

The cast contains many L.A. favorites in roles that fit them well. Joseph Fuqua is at home in his role and seems as if he might have stepped directly out of the time period, delivering every inch the droll society gentleman archetype. As Amanda, Granata is as fiery as she is ferocious and delivers especially well during her numerous the yelling bouts. Lindsay conveys perfectly Sybil’s sweet and innocent ingénue demeanor while maintaining a great depth of humor in defending and berating her beloved Elyot. Miller’s Victor was appealing and original, discovering new laughs and lending a gentlemanly air to the role. The performances across the board from the entire cast display a keen eye in casting and strong talent in performance.

Director Andrew Barnicle is deserving of considerable praise for creating a world of which Coward would approve. Each moment seems to lead into the next and the somewhat stilted and dated pitfalls that are inherent in any script of this time period are deftly side stepped here. The lighting and sound give strong ambiance, as do the well-selected props that are tossed about with reckless abandon.

The greatest judge of any work should be the audience, and with numerous bursts of laughter, they gave this production of Private Lives a very public vote of approval.