Those critical of star-casting on Broadway should catch Kim Cattrall — the single best thing in the humdrum new revival of Noël Coward’s “Private Lives” that opened last night.
Best known as the hedonistic Samantha Jones in “Sex and the City,” she looks perfectly at home in Coward’s sparkling, cynical world, where emotions are funneled through witty exchanges and refined posture. Come to think of it, this may not be such a departure from the hit TV series.
In any case, Cattrall is a vibrant presence as Amanda, one-half of a couple that’s destined to be together. Or perhaps they’re doomed to be together: Amanda and Elyot (Paul Gross, dashing but one-note) are irresistibly drawn to each other, but it’s never long before affection morphs into bickering.
Indeed, “Private Lives” is usually described as a comedy of manners, but its take on love and married life is pretty depressing: People love, then they fight, then they love again, then they fight again. It’s like Beckett with tuxes and evening gowns.
When we first meet them, Amanda and Elyot are honeymooning in a luxurious French hotel — separately. Divorced for five years (she sued “for cruelty, and flagrant infidelity”) they have fresh spouses, but each casts a long shadow over the other’s new union.
Unfortunately, Richard Eyre’s production stacks the deck, making it overly clear the new couples don’t stand a snowball’s chance in hell.
Elyot looks bored by his young new wife, Sybil. Played by Anna Madeley with girlish pep, she pales next to Amanda, the embodiment of sophisticated womanhood.
But then Amanda’s new husband, the mustachioed, balding Victor (Simon Paisley Day), has the stiff manners of a midrank officer. Compare and contrast with Gross’ Elyot, who boasts matinee-idol looks and cocky confidence.
The first act, in which Amanda and Elyot meet again and resume their relationship, moves swiftly. The two are evenly matched, and trade barbs with glee. But after intermission, the show slowly sinks into a funk, typified by Rob Howell’s bizarre set design for Amanda’s pad — a nautical-themed art-deco loft by way of Atlantis.
Gross seems to lose his footing, and his Elyot fails to convey any passion for Amanda. This is a big problem since, plot-wise, there’s only a series of quicksilver switches from desire to annoyance and back again. Cattrall shoulders her share of the heavy lifting with grace and sexiness, but you wish she had a better sparring partner.
But then, maybe that’s Coward’s real message about matrimony: You’re all alone out there.