Review
by TOM KING
Private Lives
Presented by Southend Shakespeare Company
Dixon Studio, Palace Theatre, Southend on Sea
TUE 29 OCT – SAT 2 NOV 2019
by TOM KING
Private Lives
Presented by Southend Shakespeare Company
Dixon Studio, Palace Theatre, Southend on Sea
TUE 29 OCT – SAT 2 NOV 2019
ALL the qualities that were pretty well patented by Noel Coward abound in Private Lives. Here is the light living room comedy and cocktail chatter. Here are the staccato witticisms, launched like Exocet missiles, along with the trademark male silk dressing gowns. And interpolated into the action is an original Coward song that, like many others by the Master, was to acquire a life of its own, and become part of the 20th century songbook.
Coward's laugh lines (“Don't quibble, Sibyl”; “Very flat, Norfolk”) still get the audience rocking with laughter.. Yet although it masquerades as light and poised comedy, Private Lives is actually a heavyweight of a play. Its core theme – the failure of human relationships – is every bit as relevant today as in the 1930s, possibly more so.
Private Lives is a roller-coaster of a love story. Elyot Chase and Amanda Prynne (ex-Chase) are two people eternally in love, yet they cannot live together. And as we discover in the course of the play, they can't live apart, either. The phases of soaring passion and the periods when the couple tumble back into open warfare follow one another like night follows day and day follows night. For all the comic antics, there is an affecting strain of melancholy that runs through the play, greatly deepening and enriching it.
There is probably no need for a spoiler alert when I say that the play opens with one of the most famous amorous encounters, or “meet-cutes”, in the business.
Following a stormy divorce, Elyot and Amanda have both married other partners. On honeymoon in Deauville, the two couples are, unknowingly, placed in adjoining bedrooms in the same hotel. Emerging onto their respective balconies, Elyot and Amanda once again find themselves face to face.
The process by which this awful coincidence ignites into a reawakening of old flames is played at a level of sophisticated, brittle, comedy, and yet it builds up so deftly from formal conversation into wild abandon that you are left reeling at Coward's craftsmanship. Music is a key catalyst, represented here by the song Some Day I'll Find You, and summed up in that immortal line: “Strange, how potent cheap music is.”
Needless to say, Southend Shakespeare Company make a polished job of this delicious play. Director and cast make the job look easy, but mastering the style and verbal textures of Coward's writing is as specialised a job, in its own way, as, say, high-wire acrobatics.
The play provides a field day for Southend Shakespeare stalwarts, with James Carter and Madeleine Ayres as the loving and warring Elyot and Amanda, and Andrew Sugden as Amanda's terminally dull new husband Victor, Julie Carter as the surly maid Louise speaks French as to the manière born, and another SSC veteran, Ian Downie, is at the helm as director. The sets, by Peter Finlay, establish a new standard for the small-scale Dixon Studio; indeed, it is worth sitting out the interval in order to watch the choreography involved in the scene change.
The revelation of the night, however, is Louise Banks as Elyot's new and much younger wife, Sibyl. Hers is a supremely balanced performance, as she moves from simpering and soppy wedding-night bride into the fury of a woman scorned. Every look, every gesture, every reaction and every piece of body language is perfectly tuned to reflect this change in Sibyl, as she grows up in front of her eyes. Ms Banks is a born Noel Coward ingenue. The great man, had he been alive today, would surely have tucked her under his wing, become her mentor, and set out to build a starry career for her.
Private Lives
Palace Theatre (Dixon Studio), Westcliff
Nightly at 7.45pm until Sat Nov 2, matinee Sat 3pm
01702 351135 southendtheatres.org.uk
Coward's laugh lines (“Don't quibble, Sibyl”; “Very flat, Norfolk”) still get the audience rocking with laughter.. Yet although it masquerades as light and poised comedy, Private Lives is actually a heavyweight of a play. Its core theme – the failure of human relationships – is every bit as relevant today as in the 1930s, possibly more so.
Private Lives is a roller-coaster of a love story. Elyot Chase and Amanda Prynne (ex-Chase) are two people eternally in love, yet they cannot live together. And as we discover in the course of the play, they can't live apart, either. The phases of soaring passion and the periods when the couple tumble back into open warfare follow one another like night follows day and day follows night. For all the comic antics, there is an affecting strain of melancholy that runs through the play, greatly deepening and enriching it.
There is probably no need for a spoiler alert when I say that the play opens with one of the most famous amorous encounters, or “meet-cutes”, in the business.
Following a stormy divorce, Elyot and Amanda have both married other partners. On honeymoon in Deauville, the two couples are, unknowingly, placed in adjoining bedrooms in the same hotel. Emerging onto their respective balconies, Elyot and Amanda once again find themselves face to face.
The process by which this awful coincidence ignites into a reawakening of old flames is played at a level of sophisticated, brittle, comedy, and yet it builds up so deftly from formal conversation into wild abandon that you are left reeling at Coward's craftsmanship. Music is a key catalyst, represented here by the song Some Day I'll Find You, and summed up in that immortal line: “Strange, how potent cheap music is.”
Needless to say, Southend Shakespeare Company make a polished job of this delicious play. Director and cast make the job look easy, but mastering the style and verbal textures of Coward's writing is as specialised a job, in its own way, as, say, high-wire acrobatics.
The play provides a field day for Southend Shakespeare stalwarts, with James Carter and Madeleine Ayres as the loving and warring Elyot and Amanda, and Andrew Sugden as Amanda's terminally dull new husband Victor, Julie Carter as the surly maid Louise speaks French as to the manière born, and another SSC veteran, Ian Downie, is at the helm as director. The sets, by Peter Finlay, establish a new standard for the small-scale Dixon Studio; indeed, it is worth sitting out the interval in order to watch the choreography involved in the scene change.
The revelation of the night, however, is Louise Banks as Elyot's new and much younger wife, Sibyl. Hers is a supremely balanced performance, as she moves from simpering and soppy wedding-night bride into the fury of a woman scorned. Every look, every gesture, every reaction and every piece of body language is perfectly tuned to reflect this change in Sibyl, as she grows up in front of her eyes. Ms Banks is a born Noel Coward ingenue. The great man, had he been alive today, would surely have tucked her under his wing, become her mentor, and set out to build a starry career for her.
Private Lives
Palace Theatre (Dixon Studio), Westcliff
Nightly at 7.45pm until Sat Nov 2, matinee Sat 3pm
01702 351135 southendtheatres.org.uk
Glamorous and rich divorcees Elyot Chase and Amanda Prynne, have remarried. They meet each other again unexpectedly, when both couples decide to take their honeymoon at the same French hotel – in adjoining suites.
Their love for one another is rekindled and they both fling themselves headlong once more into a love affair, without any thought for their new partners. Chaos is about to ensue…!
Private Lives is widely regarded as Noel Coward’s comic masterpiece. We chat to Louise Banks who plays Sibyl in their latest production!
Their love for one another is rekindled and they both fling themselves headlong once more into a love affair, without any thought for their new partners. Chaos is about to ensue…!
Private Lives is widely regarded as Noel Coward’s comic masterpiece. We chat to Louise Banks who plays Sibyl in their latest production!
When and under what circumstances did you start taking part in amateur dramatics?
I always loved drama lessons when I was at school. My parents noticed I was rather dramatic so they sent me to extra lessons and clubs. My fondest memory of school was performing at the ISA Drama Competition and winning the award for Best Actress. I also used to like getting out of Maths lessons! Drama was a safe space for me ‘where I could be myself’ and I knew that I wanted to continue performing when I left school. When I was 16 I became a member of the Palace Theatre Youth Group. Later, whilst I was completing my A Levels, I saw the SSC were putting on Noel Coward’s Hay Fever and I auditioned for it.
Are or were any members of your immediate family involved in drama?
I am really fortunate to have parents who absolutely love the theatre. They introduced me to theatre from a young age through pantomimes, musicals and plays. My parents have come to every single play that I have been in. You can always count on my Mother’s cackle to encourage other audience members to laugh!
Have you done any formal theatre or musical training?
I recently graduated from the University of Warwick with a degree in English Literature and Theatre Studies. My degree allowed me to specialise in Early Modern Drama. I also really enjoyed doing LAMDA examinations when I was younger. However, I have found that a great deal of my knowledge has been developed through working with companies like the SSC and Nineteen 12 Productions.
I always loved drama lessons when I was at school. My parents noticed I was rather dramatic so they sent me to extra lessons and clubs. My fondest memory of school was performing at the ISA Drama Competition and winning the award for Best Actress. I also used to like getting out of Maths lessons! Drama was a safe space for me ‘where I could be myself’ and I knew that I wanted to continue performing when I left school. When I was 16 I became a member of the Palace Theatre Youth Group. Later, whilst I was completing my A Levels, I saw the SSC were putting on Noel Coward’s Hay Fever and I auditioned for it.
Are or were any members of your immediate family involved in drama?
I am really fortunate to have parents who absolutely love the theatre. They introduced me to theatre from a young age through pantomimes, musicals and plays. My parents have come to every single play that I have been in. You can always count on my Mother’s cackle to encourage other audience members to laugh!
Have you done any formal theatre or musical training?
I recently graduated from the University of Warwick with a degree in English Literature and Theatre Studies. My degree allowed me to specialise in Early Modern Drama. I also really enjoyed doing LAMDA examinations when I was younger. However, I have found that a great deal of my knowledge has been developed through working with companies like the SSC and Nineteen 12 Productions.
Playing for laughs in Learned Ladies
Do you have any special skills, from juggling to costume design, that have proved useful on stage?
Unfortunately, nothing quite as exciting as juggling! The first thing that springs to mind is that I have always loved improvisation. I find that being able to think on your feet is a really useful skill to have onstage when something goes wrong!
Do you do any accents or impressions?
The first time I ever had to do an accent was for the play ‘Teechers’ by John Godber. I felt completely out of my comfort zone! I find that accents are best formed when you have someone to base it on. In ‘Teechers’ I had to do a Northern accent and I used my old PE teacher as my muse! He still doesn’t know about that! That play really gave me the confidence to experiment and have fun with voice work.
Which experience/role do you regard as the highlight of your theatre career?
So far, the highlight of my theatre career has been playing Launcelot Gobbo in the SSC’s The Merchant of Venice. I had never played a Shakespearean clown before and I learnt so much from that experience. What I loved about playing the ‘clown’ was that the script was full of world manipulation, punning and incredible verbal imagery. There was so much wonderful material to play around with. As an actor, you cannot ask for a better challenge! I also enjoyed being able to interact with the audience to such a great extent.
Who is the most inspirational person you have worked with/been taught by, in your stage career?
There have been so many! My drama teacher Vivienne Cunningham really encouraged me when I was at school. I was incredibly shy and she gave me so much confidence. I wouldn’t be where I am today without her! In the SSC I have been really privileged to work with some amazing directors, such as Dave Lobley, Vanessa Osborn, Ian Downie and Madeleine Ayres.
Unfortunately, nothing quite as exciting as juggling! The first thing that springs to mind is that I have always loved improvisation. I find that being able to think on your feet is a really useful skill to have onstage when something goes wrong!
Do you do any accents or impressions?
The first time I ever had to do an accent was for the play ‘Teechers’ by John Godber. I felt completely out of my comfort zone! I find that accents are best formed when you have someone to base it on. In ‘Teechers’ I had to do a Northern accent and I used my old PE teacher as my muse! He still doesn’t know about that! That play really gave me the confidence to experiment and have fun with voice work.
Which experience/role do you regard as the highlight of your theatre career?
So far, the highlight of my theatre career has been playing Launcelot Gobbo in the SSC’s The Merchant of Venice. I had never played a Shakespearean clown before and I learnt so much from that experience. What I loved about playing the ‘clown’ was that the script was full of world manipulation, punning and incredible verbal imagery. There was so much wonderful material to play around with. As an actor, you cannot ask for a better challenge! I also enjoyed being able to interact with the audience to such a great extent.
Who is the most inspirational person you have worked with/been taught by, in your stage career?
There have been so many! My drama teacher Vivienne Cunningham really encouraged me when I was at school. I was incredibly shy and she gave me so much confidence. I wouldn’t be where I am today without her! In the SSC I have been really privileged to work with some amazing directors, such as Dave Lobley, Vanessa Osborn, Ian Downie and Madeleine Ayres.
Louise plays the Clown in The Merchant of Venice
When was your most embarrassing theatrical moment on or off stage?
There have been quite a few! I am an incredibly clumsy person so accidents tend to happen around me… a lot! The most embarrassing moment was definitely in the SSC’s Learned Ladies. I remember finding our dress rehearsal to be quite stressful because my costume (a pink dress with a lot of padding) was incredibly wide- entering and exiting the stage was very difficult! However, by show three I was feeling very confident and I stormed onstage to deliver my first line. Unfortunately, I didn’t see that the logs for the fire were really close to my entrance and my dress got caught on one of the branches. It threw me backwards! I felt really shaken but decided to make every line count. Thankfully, the scene went really well and we exited to a round of applause! We felt like the ugly step sisters in a pantomime!
What do you do for a living?
I graduated from the University of Warwick about a year ago and since then I have worked as a teaching assistant, receptionist and a researcher for a writer.
Has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage roles?
It proved most helpful as a teaching assistant! When you are put in a Year 10 Physics class, you need all the acting experience you can muster!
Tell us about your current production of PRIVATE LIVES.
Private Lives centres around a divorced couple who, whilst honeymooning with their new spouses, discover that they are staying next door to each other at the same hotel. They then decide to run away and begin another love affair. I am playing the role of Sibyl who is the new wife to Elliot Chase. Sibyl is naïve, spoilt and incredibly childish- I love playing this character!
There have been quite a few! I am an incredibly clumsy person so accidents tend to happen around me… a lot! The most embarrassing moment was definitely in the SSC’s Learned Ladies. I remember finding our dress rehearsal to be quite stressful because my costume (a pink dress with a lot of padding) was incredibly wide- entering and exiting the stage was very difficult! However, by show three I was feeling very confident and I stormed onstage to deliver my first line. Unfortunately, I didn’t see that the logs for the fire were really close to my entrance and my dress got caught on one of the branches. It threw me backwards! I felt really shaken but decided to make every line count. Thankfully, the scene went really well and we exited to a round of applause! We felt like the ugly step sisters in a pantomime!
What do you do for a living?
I graduated from the University of Warwick about a year ago and since then I have worked as a teaching assistant, receptionist and a researcher for a writer.
Has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage roles?
It proved most helpful as a teaching assistant! When you are put in a Year 10 Physics class, you need all the acting experience you can muster!
Tell us about your current production of PRIVATE LIVES.
Private Lives centres around a divorced couple who, whilst honeymooning with their new spouses, discover that they are staying next door to each other at the same hotel. They then decide to run away and begin another love affair. I am playing the role of Sibyl who is the new wife to Elliot Chase. Sibyl is naïve, spoilt and incredibly childish- I love playing this character!
In rehearsal for Private Lives
Which actor do you most admire and why?
Jodie Comer is one of my biggest inspirations. Her comic timing is flawless and the way she can manipulate her voice is exquisite. She is an actress I really look up to.
What role would you most like to play and why?
That would be Beatrice in Much Ado About Nothing. She is witty, fun and incredibly sharp.
Any tips to pass on for learning your lines?
I find that breaking the scene up into segments and learning the lines chunk by chunk really helps.
Any other tricks of the trade to pass on?
Always be willing to learn from every experience! I have learnt so much from watching our wonderful directors and actors in the SSC.
Jodie Comer is one of my biggest inspirations. Her comic timing is flawless and the way she can manipulate her voice is exquisite. She is an actress I really look up to.
What role would you most like to play and why?
That would be Beatrice in Much Ado About Nothing. She is witty, fun and incredibly sharp.
Any tips to pass on for learning your lines?
I find that breaking the scene up into segments and learning the lines chunk by chunk really helps.
Any other tricks of the trade to pass on?
Always be willing to learn from every experience! I have learnt so much from watching our wonderful directors and actors in the SSC.
An Amateur Production
£15.00 / Concs. £1.50 off
Prices shown are inclusive of any applicable booking fees. Groups of 10+ please call 01702 351135 to buy fee-free.
£15.00 / Concs. £1.50 off
Prices shown are inclusive of any applicable booking fees. Groups of 10+ please call 01702 351135 to buy fee-free.