THE NOTEBOOK (6/21/14): Another “Private Lives”; “The Totalitarians” at the Woolly

Another “Private Lives”

Out of all of Noel Coward’s plays, I’ve seen “Private Lives” most frequently. Hence, I wasn’t jumping at the opportunity to see it yet again (I caught yesterday’s matinee at the Lansburgh Theatre), especially since it’s a difficult play to successfully execute. The play’s persistent quips can beat the audience to a state of catatonic exhaustion by the end of its three acts. In the right hands, though, it fizzes and elevates the audience to a giddily euphoric state as few plays can. Luckily for DC audiences, they currently have access to the inspiringly-performed and handsomely appointed remount of the Huntington Theatre Company’s “Private Lives” at the Lansburgh. Kudos particularly to James Waterston and Bianca Amato for perfectly-tuned performances in the central roles of Elyot and Amanda, respectively, as well as director Maria Aitkens’ energetic, highly physical direction that keeps things moving along crisply and rather nicely. It’s a sizzling revival (far superior to the most recent Broadway revival with Kim Cattrall) that pleasantly caught me by surprise.

 

“The Totalitarians” at the Woolly

I continued to make my Washington theater rounds by attending last night’s performance of the world premier of Peter Sinn Nachtireb’s “The Totalitarians” at the Woolly Mammoth. It’s an odd duck of a play, one that combines elements of political satire, conspiracy theory, and domestic drama into an uneasy brew. It’s by no means a train wreck; some of the performances stand out, particularly Emily Townley’s no-holds-bard performance. Also, the Woolly has always given its plays deluxe productions, and this one’s no exception: all the technical aspects of “The Totalitarians” (directed by Robert O’Hara) are top-notch. However, although I applaud the Woolly’s commitment to new bold works, this one is in need of some focus.

Categories: Theater

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