In the centuries since the life of William Shakespeare, probably the best British dramatists have been those who wrote comedies of manners, from the Restoration period, to Oscar Wilde at the end of the nineteenth century, to Noël Coward in the twentieth century. To paraphrase one critic, Coward actually wrote comedies of bad manners; when society’s rules prove too stringent for his characters, they sulk, throw tantrums, become regressive, or go into denial. This may sound unpleasant, but Coward renders these reactions hilariously funny.
A professional actor by the age of twelve, Coward brought a sure sense of theater to his dramas, an informed ability to decide what lines, moves, and situations would prove most telling. He often acted in his own plays, and it was while playing the lead in The Vortex (written by Coward, and first produced in Hampstead, London, in 1924) that he won fame as both actor and writer. Later in life, he was successful as an actor in motion pictures as well as television shows.
Private Lives is vintage Coward. The situation is at once unlikely and provocative: Two newlywed couples honeymooning at the same hotel turn out to have a prior connection—one of the husbands used to be married to one of the wives. Elyot Chase and Amanda Prynne find the moonlight and their chance propinquity irresistible. All their romantic feelings for each other come flooding back, causing them to abandon their new mates. Such behavior is inexcusable by any measure of decency, but Coward wins some sympathy for the erring couple. To begin with, he makes their mates slightly unsympathetic—a bit doltish, a trifle too eager to please. By contrast, the dialogue only starts to crackle when Elyot and Amanda are alone together, and their witty duels are entertaining....
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