Blithe Spirit

A splendid choice celebrating the lead up to Noel Coward’s 125th birthday in December, particularly as the scene is set in Kent naming familiar locations - an area he lived in. A piece full of active business, much mystic mischief, wordy script. Its seven interesting characters are led by a cantankerous Charles Condomine with writer's block who decides to invite a somewhat eccentric medium Madame Arcati to set up a séance in his living room on a summer’s evening, for research purposes.

The local doctor and his wife are invited to attend and the event conjures Charles to be haunted by his first wife Elvira and subsequently his second wife Ruth, producing most amusing and sometimes frightening consequences. Misunderstandings and much chaos is observed and all kinds of tricks are explored by Madame Arcati in order to make these ghosts disappear! Congratulations to Director Vanessa in bringing together her first full length play, the players creating their parts convincingly, using the stage to its full advantage, with massive amounts of well-delivered and audible script, easily heard from the rear of the hall, fast action, and a lot of ornament smashing and picture droppings!. Good movement particularly when a  character was reacting to someone who is a ghost! Very well-choreographed, which included the neat movement of various pieces of furniture.

The set was created around elegant lounge central double doors which operated smoothly with good timing. They simply opened onto a black and the room itself was set almost in a semi-circle, the back wall hanging small pictures which dropped with perfect timing, a wall light and switch, the displayed ornaments, working area to provide the perfect dry martini,  a settee, another small table enabling the holding of hands during the séance session and a curtained window strategic for the entrance and exit of ghosts.  The set was much in keeping for the era, but I was a little surprised that the curtains had shiny metal rings which were not. Much attention to detail stage dressing was organised by Props Manager Alison Robinson. The costuming too was good and notable was the voluminous yellow outfit and headband of Madame Arcati complete with chunky necklace and the addition of a little hat to match the yellow. Perfect. One could imagine her flying down hills on her bicycle!

The eight-page, A5 easily readable programme contained all required criteria for our NODA Programme & Poster Competition and I particularly liked the artwork of the four key characters on the front cover.

Although no stranger to performing, Henrik Hansen took on his first role with the group as Charles, which certainly did him credit. A demanding role with a huge amount of script to sustain which he did admirably. Paula McMullan played his second wife Ruth – tall, rather regal somewhat unsure of Charles’ love and underlying jealousy of deceased younger first wife Elvira. Some very good, wordy exchanges with Charles. Her presence was elegant. I liked the netted hairstyle of the 40s,  and ethereal look towards the end of the play. Any minor slips in script were well handled and recovered. Again, a very wordy part confidently played. Darcie Pritchard following her mother’s theatrical footsteps became the newly appointed housemaid Edith – a strategic cameo role - who had to learn not to do everything at the double. Good handling of props through the double doors and a great scream! Kirsa Olson in her blond bob that she took to evocatively stroking, in elegant sleeveless light coloured evening dress and well managed stole, smoothly glided around the stage. She was mischievous too. Very nicely performed. Dr Bradman and his wife Violet, the invited couple game to be party to the sceptical séance evening were portrayed by experienced Mac Mercer and Heather Gould. Fiona Pritchard – I just loved your portrayal of mystic enthusiasm and eccentricity of the marvellous Madame Arcati. What fun with the lines, such expressive movement and gestures.

A thoroughly funny and well directed performance and not forgetting the technical side, with Advisor Dave Austin, sound and lighting operated by Louis Robinson and Sarah Woods with input from Leopard Production Services. Good timings on dimming the wall light and stop and start of the gramophone, telephone call, doorbell to name a few. Diligent SM was Alan Arthur, assisted by Gary Robinson Best Boy, a splendid curtain puller not forgetting Jane White as Bar Manager, Sue Johnson on the book, and Elaine Narborough ensuring the good 1940s' look.

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