Walking down Manchester’s Market Street, the atmosphere can only really be described as buzzing. Tram horns cut through the air, conversations overlap, buskers draw passing crowds, and a steady rhythm of people moves through the city centre.
But stepping into the Royal Exchange Theatre feels like crossing into a completely different world.
Soft lighting welcomes you into the former cotton exchange, where visitors linger over drinks at the bar or wander slowly, taking in the character of the building. There’s a calmness to it — a contrast to the pace outside — yet a quiet anticipation builds as showtime approaches.
As the bell rings and you take your seat, the theatre’s in-the-round design becomes immediately apparent. There’s no distance from the action here. Every seat feels close, and every movement is shared.
And just like that, you’re transported into the 1930s world of Private Lives.
A chaotic love story you can’t look away from.
Written by Noël Coward, Private Lives begins with what seems like a coincidence. Newlyweds Elyot (Steve John Shepherd) and Sibyl (Shazia Nicholls) discuss their future together, yet Elyot’s ex-wife, Amanda, lingers in almost every conversation.
Despite the honeymoon setting, their relationship doesn’t appear entirely effortless. There’s a slight awkwardness and a sense that Elyot’s affection is more obligation than instinct.
It isn’t long before we discover that Amanda (Jill Halfpenny) and her new husband Victor (Daniel Millar) are honeymooning in the very same place. And suddenly, what felt like a coincidence begins to look far more like inevitability.
From the moment Elyot and Amanda see each other again, the atmosphere shifts. There’s a tension running beneath every line – sharp, electric, and completely unpredictable. The two are unmistakably alike, drawn together by a chemistry that is as compelling as it is volatile.
You can feel the audience leaning into it, quietly rooting for their love to rekindle, even as the inevitability of its toxicity lingers just beneath the surface.
Jill Halfpenny and Steve John Shepherd
Returning to the Royal Exchange Theatre, Jill Halfpenny sits at the centre of the drama alongside Steve John Shepherd, and their chemistry is genuinely captivating.
Halfpenny’s Amanda is playful and impulsive, but never without control. She moves effortlessly between flirtation and vulnerability, creating a character that feels both magnetic and dangerous. It’s a performance that constantly draws your attention, even in stillness.
Opposite her, Shepherd delivers Elyot with a dry, cutting wit that seems instinctive. As a fan of his portrayal of Michael Moon in EastEnders, it’s easy to see why he is so well-suited to this role. His sarcasm and comedic timing are razor-sharp, but what makes the performance land is the contrast – moments of sharp irritation slipping into complete indifference, often within the same breath.
Together, they create something that feels chaotic yet completely natural – a relationship built on passion, conflict, and a shared understanding that no one else quite reaches.
The people left behind
While Amanda and Elyot dominate the space, it’s impossible to ignore those caught in the fallout.
Shazia Nicholls’ Sibyl captures a sense of immaturity paired with underlying insecurity, constantly seeking reassurance – particularly as she compares herself to Amanda. As the play unfolds, that uncertainty sharpens into something more reactive, with moments where her composure slips in ways that feel both uncomfortable and unexpectedly funny.
Daniel Millar’s Victor, meanwhile, moves with a kind of misplaced confidence. His ‘brawn over brain’ attitude, paired with his blind devotion to Amanda, makes the unravelling of his situation feel inevitable. The contrast between Victor and Elyot, and between Sibyl and Amanda, is clear from the outset, heightening both the tension and the comedy throughout.
By the show’s explosive final act, both characters shift entirely. What begins as controlled politeness dissolves into chaos – and it’s here that some of the loudest laughter of the evening emerges.
A world built on small details
Like many productions at the Royal Exchange, what makes this so immersive isn’t just the performances, but the way the space is used. The rotating stage removes any sense of distance between audience and cast, drawing you directly into the action.
Small details elevate that experience further. The lingering scent of cigarette smoke drifting across the stage subtly transports you to the 1930s apartment, where Elyot and Amanda are hiding, adding a sensory layer that feels surprisingly effective.
Every raised eyebrow, sharp exchange, and moment of silence is heightened in this setting. You notice the shifts in energy as characters move around the space, the way voices carry, and even the intensity of eye contact – particularly from characters like Elyot.
It all works together to create something that feels less like watching a play and more like being placed directly inside it.
A love story that refuses to behave
At its core, Private Lives is about a toxic relationship that refuses to follow any rules – including its own.
Amanda and Elyot’s chemistry is immediate and undeniable, but it’s also deeply flawed. As an audience, you find yourself rooting for them, even while knowing exactly how it’s likely to end. It’s a strange tension – wanting something to work, while fully aware it probably shouldn’t.
Their attempts to control that chaos, most notably through the word ‘Sollocks,’ are almost absurd in contrast to the intensity of their relationship. And yet, it’s that absurdity that makes it so entertaining.
Final thoughts
Leaving the Royal Exchange, the shift back into Manchester is noticeable as the noise, movement, and real world swiftly return. But the atmosphere of the play lingers.
Private Lives is sharp, funny, and deliberately chaotic – a production perfectly suited to the intimacy of the Royal Exchange Theatre. As part of its 50th anniversary ‘A Homecoming’ season, this production also acts as a reminder of what makes this space so special.
For an evening in Manchester that goes beyond the usual, this is one worth stepping into.
Private Lives is running at the Royal Exchange Theatre until 2 May. Book your tickets now.Â
**Tickets gifted in exchange for honest review
Kelsey Haslam is the founding editor of Magenta Adventures Travel Publication and a freelance travel writer with a focus on community-based travel, culture-led experiences, and theatre tourism. She is passionate about spotlighting lesser-known destinations and connecting travellers with meaningful, human-centred stories.
Her published work includes destination features and luxury hotel reviews for leading travel outlets such as A Luxury Travel Blog, Beau Monde Traveler, and Luxury Lifestyle Magazine.
Explore more about Kelsey’s background on the About Page.
