"This is a safe and settled delivery of 'Private Lives', but one bristling with chemistry between two beautiful older troupers."
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“It seems churlish... given how fleet these two are, how deftly the jokes land, how elegantly they play off each other, to complain, but the wild physicality at the end of Act II is, perhaps understandably, missing.”
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“Veiled in comedy, the play discusses religion, morality and mortality...It’s a meticulous piece of dumbshow [performed by] consummate pros.”
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“Nothing remotely as radical is on offer in Christopher Luscombe’s production, which trundles rather than glides towards its tempestuous conclusion... The best of the repartee still sparkles, but I’ll admit that I spent much of the evening admiring the designer Simon Higlett’s Deauville hotel façade and the luscious, semicircular evocation of Amanda’s Paris apartment.”
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“This production of ‘Private Lives’ was a faithful recreation of a well-loved classic...While I still enjoyed this production immensely, it didn’t feel as slick as it could have been with some real uneven moments letting the overall high quality down. With many fantastic qualities going for it including the chance to see some legendary actors in a relatively intimate theatre, this is still a show audiences are sure to love.”
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“Christopher Luscombe’s witty, handsome revival succeeds because it trusts the material, allowing the profundity to quietly transcend the flippancy.”
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"There might not be anything truly novel in here, but it is hard to knock time spent with such delightfully exuberant actors."
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"It’s probably heresy to suggest that this play might not always be quite as witty as it thinks it is. To paraphrase, too much flippancy can be annoying, but stuffiness is worse. For Amanda and Elyot, at their age, life is too short to take things seriously."
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