Blithe Spirit

However many times this play is staged, somehow, like so many other vintage classics, it always delights. Audiences of all age groups enjoy it and this occasion was no exception, judging by the numbers at each performance. The storyline is well known, quirky but easy to follow, so one can just relax, sit back and revel in the imaginative happenings taking place at the house of the Condomines.

The single room set was well thought out, with all seating areas mid to front stage. Thus, there was ample room for movement, absolutely necessary with both the fleet movements of the late Elvira and the extravagant costumes of madame Arcati, who sailed across the stage with great rapidity.

However, the first thing that struck me, once the actors had made their entrances, was the choice of a glamorous actress in the part of the doctor's wife. Both she and her husband are friends of the Condomines and their presence suggests they are there to add a note of normality to an otherwise far-fetched plot, although surprisingly, the Bradmans are never mentioned in any synopsis and are therefore easily overlooked. Not so, in this case. In fact, it made me think how lucky Doctor Bradman was to have such a beautifully coiffured, elegant wife. These roles were played by Sarah Kellett - a newcomer for me - and Steve Kimpton and so at last, here were two characters who immediately became part of the play and not just the rather boring, easily forgotten couple usually depicted. Surely Mr Coward would have intended the Condomines and the Bradmans to be of similar backgrounds and obviously co-directors Dinah Bowman and CaroIyn Ferguson realised this and so elevated the roles of doctor and wife by shedding mediocrity and substituting elegance and thus credibility to their parts.

Steve Tavener as Charles Condomine came across as a bit of a roue. What is it about Steve that always gives this impression? He oozes charm, so maybe that's the answer, or part of it at least. His two wives were of quite dissimilar characters, with Ruth his present wife, played admirably by Carolyn Fergusson, having a slightly tart edge to her (understandable, given the ensuing mayhem), whereas the conjured up Elvira, although probably in her early twenties when killed in a car crash, was seen as a petulant, playful teenager. Ness Laws' portrayal of Elvira was mesmerising and one of the best performances of this role that I have seen. Her flinging herself across an armchair and almost sulking, is one of the memories which will endure.

Dinah Bowman caused plenty of titters amongst the audience as the shuffling maid Edith. Despite her deferential 'Yes ma'ams' one felt that that she was not a particularly efficient maid and that the Condomines had kept her on for old times' sake. How well she delivered the "ooh, sir" when Charles Condomine thanked her profusely for her contribution to the night's happenings and how slow was the audience in picking up the resulting innuendo when she suddenly imagined the worst.

Cheryl May as Madame Arcati made a most believable, eccentric, fictional medium. Fictional because that is how they are so often depicted in plays and books, although in real life such a flambouyant persona would diminish their credulity. Cheryl was indeed an ideal choice for this part and gave it just the right amount of warmth, excitement and even slight surprise, particularly when Elvira was conjured up.

The costumes by Liz Santer and Dinah Bowman were of the usual high standard. I particularly liked the silver-grey of Elvira's costume which gave the right ethereal 'feel', although I did find that of the dead Ruth, while picking up the same colour scheme, rather hinted at Hitler Youth by its design. Or maybe that was intentional, given Ruth's character in the story.

An enjoyable evening's entertainment, enhanced by the gentle piano playing of John Pollard during the interval and of course, the ever welcoming front of house team. It is always a pleasure to attend a CAODS production, so I'm looking forward to Jungle Book, their Christmas pantomime, written and directed by the ubiquitous Cheryl May.

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