Dec 10, 2009

Private Lives | Introduction

Private Lives is considered a prime example of the sophisticated comedies of Noel Coward, one of the most-prominent dramatists of his era. An overwhelming critical and commercial success when it was first produced in 1930, Private Lives remains a standard of repertory and non-professional theatre companies everywhere and has entertained audiences for well over half a century.

The action of the play concerns a divorced couple, Elyot and Amanda, who meet on then-respective honeymoons to second spouses. They realize that they are still in love with each other and should never have divorced; they abandon their new spouses and run off together, though they are soon caught up in the same violent arguments that originally plagued their stormy marriage. This simple, somewhat contrived situation provides all the structure Coward requires to display his eccentric wit and deft comedic stagecraft, which are considered the main strengths of the play. The protagonists lampoon the hypocrisies and pretensions of modern manners and social conventions and seek true love regardless of the cost to their reputations. Once they free themselves from the "outside world," however, their inner passions and jealousies (their "private lives") consume them, leaving them trapped in an inescapable cycle of love and hate.

Expressed m such terms, the plot resembles that of a tragedy, but Coward (who acted the role of Elyot himself in the early productions) fashions from it a last-paced comedy, moving from misfortune to full-blown absurdity before tragedy has time to take hold. Prone to cynicism and irreverence, his glamorous upper-class characters seem incapable of taking much of anything seriously for long—a condition which usually proves contagious for the audience as well. Often accused of wasting his evident talent on superficial entertainments. Coward firmly believed the theatre existed for people's amusement, not to leach or reform them. On these terms. Private Lives is considered one of the enduring successes of modern comedic theatre.

Private Lives Summary

Act I
The setting is the terrace of an elegant hotel on the French Riviera; two separate suites open onto it, from either side of the stage. This simple situation contains a number of remarkable coincidences, as the audience quickly learns in a series of brief, mirror-image episodes. Each suite is occupied by a honeymooning couple, fresh from the altar: Elyot and Sibyl Chase on one side, and Victor and Amanda Prynne on the other. Elyot and Amanda were each previously married, a matter of some anxiety to their new spouses; in fact, they happen to have been married to each other, a three-year union they both describe as an intolerable round of violent arguments and passionate jealousies. Five years after their divorce, each is starting off on a new life, with what seems to be a more stable and manageable partner. Adding to the coincidence, they happen to have married at the same time ... and to have chosen the same hotel for their honeymoon... and to have been assigned adjoining suites.

Each couple makes an appearance on the terrace, then goes back inside, in a series of alternating episodes and near-misses that establishes the complex situation. The honeymoons are not starting well, for Sibyl and Victor each persist in asking about their new spouses' first marriages. Annoyed, Elyot and Amanda both profess to be far happier with their new mates but also give indications of already becoming bored by them. Finally, Amanda and Elyot notice each other, without coming face-to-face, and react with panic. They rush to their spouses, each demanding to leave the hotel immediately, but neither Sibyl nor Victor will agree to such a sudden change in then: honeymoon plans. The result is each new couple's "first quarrel," with Victor stalking off to the bar and Sibyl to the hotel casino. Left alone, Elyot and Amanda finally confront each other again.

Sharing the cocktails their spouses have abandoned, they behave coolly, making civil small talk, inquiring about the new spouses, toasting each other's happiness, and light-heartedly reminiscing over their disastrous marriage. The hotel orchestra (playing in the garden below the terrace) strikes up an old love song, and Amanda sings along while Elyot watches her intently. Their reactions suggest that it had been "their song" when they were a couple; when the music ends, Amanda is fighting back tears. After an awkward moment, their reminiscences grow more regretful. They ascribe then: marital fireworks to having been "ridiculously over in love.'" 'To hell with love,'' Amanda vows; love had led them into "selfishness, cruelty, hatred, possessiveness, petty jealousy." And yet, she observes, here they are, "starting afresh with two quite different people. In love all over again, aren't we?'' Elyot fails to answer at first, then gives the answer she doesn't want to hear: "No.... We're not in love all over again, and you know it." Saying goodnight, he turns abruptly back toward his suite.

Amanda is panic-stricken, and calls him back. The moment, the music, and the memories have clearly rekindled their former passion, but she refuses to face that fact, asking him to divert... » Complete Private Lives Summary