Aitken's production is beautiful to look at, especially in the second and third acts, when the play shifts to Paris. Allen Moyer's set is fronted by a scrim based on Dufy; as it flies up at the beginning of act two, behind it Waterston and Amato lie cross-hatched in an embrace on the divan as a befogged mirror upstage center reflects the chandelier above them, which is also silhouetted on the stage left wall. (Philip S. Rosenberg's lighting is superb.) The lovely costumes are by Candice Donnelly, who must have had a grand time designing gowns for the sleek, slender Amato. This Private Lives makes for a charming evening.

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