Noël Coward’s Private Lives has enjoyed a prominent history upon the stage: since its premiere in 1930, starring idolised thespian Laurence Olivier as Victor, it has been subject to annual revivals and remains a fixture in the theatrical calendar. Indeed, the play garners awards frequently, and is a magnet for renowned stage stompers, with Elizabeth Taylor, Richard Burton, Alan Rickman and Maggie Smith all flocking to play Coward’s hedonistic, middle-class flappers.

Whilst the play colours itself with its irrepressible presence in the West End and Broadway, the same cannot be said for the realm of Cambridge theatre – it has only been performed here twice since 2004, in smaller venues that don’t attract the type of audience numbers that one might hope for. This is strange, as Coward’s comedy of manners is the exact type of theatre that Cantabrigians usually lap up: a divorced couple are honeymooning with their new spouses, only to realise that they are staying in adjacent hotel rooms, and that they do still have feelings for one another. Characters utter lines like “Strange how potent cheap music is”, and are utterly preposterous and hilariously cosmopolitan.

Debutante director Sasha Brooks does not, however, feel burdened with the pressure of translating the play’s success to the Corpus Playroom. “This is the first time I’ve had the opportunity to direct, and I couldn’t have asked for a better play or team of people to do this with. Private Lives is one of Noël Coward’s greatest works. The text is witty, fast-paced and extremely funny, and our four main actors have done an incredible job of bringing the characters to life in a way that is unique to each of them.” It is striking that this is Brooks’ first time in the director’s chair, but as Tom Chamberlain, who plays Victor, remarks: “I still can't believe it's Sasha's FIRST TIME putting on a play!”

Rolling off the names of those members of the acting elite who have played Coward’s characters, it is not difficult to comprehend why it both attracts them, and needs them to succeed. The play revolves around Elyot, Amanda, Victor and Sybil, balancing snarky rebukes with darker traumas. “The casting for Private Lives was an incredibly difficult process,” admits Sarah Stacey, the assistant director, “but it's paid off so completely. The entire cast have made these characters so recognisable and so compelling that the play just comes to life.” Indeed, Beth Davidson has had a difficult challenge in inhabiting the role of Amanda: “She is such a fierce, intelligent and witty character who is a delight and ridiculously fun to play. She can be incredibly invested in whatever she is doing but can switch at a flip of a coin from extreme joy to anger, sorrow, love. You never know what Amanda will do next!”

Of course, the crux of the play is situated in the undulating relationships between its characters.  “It has been very interesting to explore the characters of Elyot and Amanda and the relationship they have,” Davidson discusses. “They are a couple that cannot live together but can't be apart. How this extreme, intense love effects not only themselves but the people around them is what makes Private Lives such a dynamic, explosive and ultimately fun piece of theatre.” For Tom Chamberlain, the ultimate draw of Private Lives is in its witty script. “I think what I've enjoyed most has been the comedy element: I've had quite a lot of experience of 'serious drama' at Cambridge, so playing a character like Victor in such a funny play has proved very refreshing indeed!”

With an enthusiastic director, a devoted crew and a cast that are familiar faces in the spotlight, it seems destined for Coward’s Private Lives to finally stamp its mark upon the Cambridge theatre scene. Perhaps it is wise to enjoy Brooks' offering now, before complaints of its termly rehashes roll in.

Private Lives runs from Tuesday 27th – Saturday 31st October at the Corpus Playroom, 7pm.