Noël Coward’s Design for Living from 1932 is a play that demands a deft balance of wit, tension and vulnerability — qualities that are central to an exploration of love, freedom and emotional tangles. Dreamwell’s recent production, directed by Will Asmus, certainly attempts to bring Coward’s dark comedy to life, even if the results are, at times, uneven, leaving the audience to question whether the fault lies with the production or the material itself.
Set in 1930s Paris, London and New York, Design for Living is a tale of a woman, Gilda (Natalie Black), caught in a love triangle with two men: Leo, a playwright (Cody Howell), and Otto, a painter (Jasper Rood). The play’s most striking feature is its examination of an unconventional love that thrives in a space of fluidity, honesty and connection. While the play teems with biting humor, it brings a seriousness and progressiveness to its study of the complexities of relationships outside of societal norms.
The actors in Dreamwell’s production make honest efforts with the material; in particular, Black stands out as a shining light, carrying much of the play’s weight. She embodies the nuances of Gilda’s independence and vulnerability and her performance alone hints at what could have been a captivating exploration of Coward’s text. Gilda’s internal struggle to navigate her affections between Leo and Otto is brought to life by Black’s portrayal of sincerity and commitment, inflecting the production with an air of realism.
There’s also credit due to the actor playing Otto, who injects much-needed physicality and liveliness into the role, providing a spark that contrasts well with the more subdued moments of the production. His energy juxtaposes with the overall lack of vitality in the first act. The costumes are also a highlight, capturing the spirit of the era with great attention to detail without overshadowing the action.
With all that being said, there is a sense that the director has yet to fully unlock the heart of the play. While Coward’s comedy requires a dexterous touch — especially when it comes to balancing the strain of frustration and relief — much of the comedy here falls flat. The tone, at times too serious, at others too withdrawn, renders the humor disjointed instead of incisive.
In the script, the men’s rivalry is balanced by Gilda’s growing sense of emotional freedom — the multifaceted interplay of attraction, resentment and dependence is what makes the show intriguing. It’s only in the final scene of Act 2 that the actors portraying Leo and Otto find their footing: there is a moment of real connection between them, and the wit, at last, lands with some impact.
Moreover, the production seems to miss the opportunity to engage with one of the play’s most progressive themes: the exploration of polyamory. The director’s interpretation of Gilda feels rooted more in the realm of artist’s confusion than in the possibility of a modern, nuanced relationship between multiple people.
Ultimately, Dreamwell’s Design for Living feels like a production in the midst of finding its voice. While there are undeniable flashes of brilliance, the production’s direction struggles to unearth the humor, depth and intrigue embedded in Coward’s script. That said, the seeds are there, the talent is there, and with time, the production could find its spark.
Check out the production:
Iowa City | The Artifactory | Fri & Sat, Feb. 21 & 22, 7:30 p.m.
