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The signs were there early in Glenda Jackson's career that she would one day have what it takes to "ascend the Everest" (as the cliché has it) of Lear. So powerful was her performance as Ophelia in Peter Hall's production of Hamlet in 1965 that there was talk afterwards of her being cast as the prince himself. Two years later she was another disturbed woman playing Charlotte Corday unforgettably whipping Marat with her hair in The Marat/Sade.
Brian Friel’s thoughtful 1930s drama remains absorbing, while Noel Coward’s classic has fine cigarette work but fails to ignite
Stephen Mangan and Rachael Stirling are absolutely mesmerising as divorcees behaving badly
It's not often with Private Lives that you feel Amanda and Elyot are one step away from a visit to A&E. But such is the startling force of Michael Longhurst's Donmar Warehouse revival of arguably Noël Coward's most durable play that you are aware throughout of violence and pain as the flipside of passion at its most intense.
Laura Carmichael looked the epitome of chic on Thursday as she attended the press night for Private Lives at the Donmar Warehouse in London.