Theatre Review: Private Lives
Author: Noël Coward
Director: Clementine Rice
Produced by: Marlowe Society, Fletcher Players and Pembroke Players
Venue: ADC Theatre Cambridge
Performance: 11 Feb 2026
This student production starts with a few first-night jitters – and some wobbly doors that move when they shouldn’t – but it quickly finds its pace and becomes a wonderfully performed, laugh-out-loud comedy.
One of Coward’s most successful plays, and originally starring himself, alongside Gertrude Lawrence and Laurence Olivier, these are big boots for young actors to fill. Yet Private Lives has aged remarkably well and feels as relatable now as it must have done in 1930, with its sharp focus on relationships, behaviour, and the way we repeat our own worst patterns.
The play opens on two identical hotel patios, each with French doors and a table and chairs. Elyot and Sibyl are on their honeymoon. Sibyl, his much younger second wife, cannot resist probing into his first marriage – and into Amanda, whom he divorced five years earlier – much to his growing irritation.
As they leave, Amanda and Victor appear, also on honeymoon, discussing Amanda’s first husband, who is, of course, Elyot. Through the dialogue we learn that Amanda and Elyot’s relationship was tempestuous and sometimes violent “I struck him too. Once I broke four gramophone records over his head. It was very satisfying”. With the two couples in such close proximity, disaster is inevitable, and sure enough when Amanda and Elyot catch sight of each other, sparks fly.
Katie Woodman’s Amanda is acerbic and sophisticated, sparring superbly with Leo Morad as the infuriating, tempestuous Elyot. They are supported brilliantly by Nick Danby as the staid Victor, who cannot fathom how the pair can be so rude, callous and impulsive and yet so magnetically drawn together.
Gabrielle Kurniawan as Sibyl starts a little hesitantly, speaking too fast and too quietly, but she soon settles and grows into a force to be reckoned with, needling Amanda and provoking both Elyot and Victor in turn. The four central performers spark off each other with real energy and, with one or two exceptions, the comic timing is excellent, drawing plenty of laughter.
The fight scenes are brilliantly choreographed, delivering both horror and amusement as Elyot and Amanda roll around taking chunks out of each other. The near-fights and squaring-up between the two men are just as effective and just as funny.
It is the repartee within these love-hate relationships that makes the play: sarcastic, snide, biting and bitter one minute, then suddenly lovey-dovey the next. These are partners who can’t live with each other, but can’t live without each other either. As Amanda says:“It all depends on a combination of circumstances. If all the various cosmic thingummys fuse at the same moment, and the right spark is struck, there’s no knowing what one mightn’t do.” And we are certainly on edge, wondering what they will do next!
Acts 2 and 3 move to Amanda’s flat in Paris and introduce Iris Tadie as the maid Louise. The room design works well, featuring a chaise longue, occasional tables and a gramophone, while the costumes are excellent throughout: from Amanda’s green evening dress and Sibyl’s pink-and-green oriental ensemble, to the men’s suits, pyjamas and delightful Coward-style dressing gowns.
As the play draws to its high energy finale, we are left in awe of the skill and longevity of Coward, and of these young actors bringing it to the stage. ln summary, this is a sharp, lively and hugely enjoyable production – witty, well-acted, and a terrific night at the theatre. Student drama at its best!
