Blithe Spirit

Every theatre going audience the world over will be familiar with the inimitable Noel Coward’s Blithe Spirit: perhaps his most famous play. It’s richly written with every word carefully thought out and a joy to hear; there is a depth to the writing by a great playwright which makes the study of the words so very important. There have been countless versions of the play and the film, which makes putting on the play potentially quite intimidating, with an obvious safety in copying what’s already been done.

How refreshing then to meet an interpretation of Madame Arcati that isn’t a direct copy of anyone else’s. Kirsty Bishopp plays the role with a bohemian fluffiness which works really well, and fits with the other characters on stage: you can suddenly see the village they live in. Hazelle Woodhouse-White shines as Ruth with perfectly clipped heightened RP Noel Cowardesque delivery of her lines. It’s a joy to hear her speaking. She gives a layered portrayal of Ruth not just as the independent second wife who believes in science, facts and figures above faith and mysticism but of the vulnerability and insecurity underneath.

The story of course starts with an evening at Charles and Ruth Condomine’s house in a country village, with their guests Doctor and Mrs Bradman and the visiting Psychic oddball, Madame Arcati, who has been asked to demonstrate her abilities to interested parties while unbeknown to her she is the object of study by Charles for his new book. Enter the conjured dead former first wife of Charles who nobody but him can see or hear, plus a hapless slightly dim maid, and you have the full set of characters which creates one of the best comedy plays ever written. The scenes between Charles and his two wives, where Ruth can’t see or hear his first wife: Elvira, is comedy writing genius. These were very funny indeed and Hazelle played not being able to see or hear Elvira incredibly well.

All the actors did well in their roles. Sophie Armfield was super as Elvira, with pouting facial expressions and body language showing her spoilt personality and almost childlike attempts at manipulating Charles. Some of the staging was very square on while seated for quite a while with the unfortunate effect of not being able to see all of the facial expressions and somewhat excluding of the audience. The angles in other places worked really well, especially around the séance table. They maximised the playing space using jutting out sides of the stage as well, if the front had been given more light it would have helped include these sides more, as part of the scene. The working lamp on the table and the chandelier was a lovely touch. The set worked well and was very colourful but it’s not entirely clear what time period was being aimed for, whether the original 1940s or later. The props including vinyl records and proper martini glasses were lovely.

Elvira’s languid entrance through the audience was a lovely touch, as were her others coming in from “the garden”. However for anyone not already familiar with the story, Ruth’s re-entrance in the second act would have been better and more surprising through the house rather than walking through the audience. Madame Arcati’s outfits were super, as was Elvira’s gorgeous opaque grey dress. The two black armbands worn for mourning by Charles midway through act two were obviously a mistake that was hopefully rectified: left arm only of course. The key to Coward is the language, and more could have been explored in creating the play, including sharper returns on lines; but this production has sadly been beset by illness so in the timescale a huge amount has been achieved. A very enjoyable production of a classic play: very well done to all cast and crew and everyone in the company.

 

Susanne Crosby

 

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