Blithe Spirit

I have to admit I have a soft spot for this play having been in a production of it more moons ago than I care to remember, so I’m always curious to see what interpretation various groups make of this classic masterpiece. This production, directed by John Murphy, assisted by Clare Coffey, it turned out was in celebration of not only Barton Players 40th anniversary, but also the 125th anniversary of the birth of Noel Coward, and they had certainly gone to town on the detail of this ‘improbable farce in three acts.’

The set by Keith Bowie, stage managed by Debbie Radcliffe, with Clare Coffey as her crew, was absolutely magnificent, perfectly 1930’s period with an incredible amount of attention to detail. I was told this was the biggest set they had ever built and the first time they had extended the flats beyond the proscenium arch. The wallpaper effect which apparently was painted, although you’d never have known it, was black and white vertical stripes with a slightly offset gold stripe running down the black one. It was certainly striking!  On the rear wall were a set of double doors, an old fashioned windup gramophone, stage right and a dresser with rounded back shelving stage left which served as a ‘much used’ drinks cabinet and bar. To the fore stage left was a set of curtained French windows through which the garden was depicted with a very well painted brick wall. To forestage right was a little dining area, complete with table and chairs, which were periodically moved centre stage to conduct the séances.
And then the clever bit, the séance table that actually moved up and down and not operated by hands and/or feet. I learnt afterwards it was operated by 12 solenoids that were attached to the legs of the table, hidden by the wooden surround and controlled by Keith Bowie via remote. And as for the ending they really went to town, as bookshelves fell down, chandeliers disintegrated and even the fireplace fell out – very spectacular!

Costumes by the cast themselves were also very well sourced and mostly historically accurate, especially noted that Charles’ suit trousers even had turnups, totally standard for the day, something of which modern costume departments often appear unaware. Excellent touch.

Makeup, (by the cast themselves) deserves a special mention especially for Elvira and Ruth as ghosts. A particularly superb job back stage between Ruth being alive and appearing as a ghost.

The acting was, as you would expect from Barton Players absolutely top draw. The clipped upper crust accents of the period were particularly well mimicked, especially the way Katie Westwick as Ruth Condomine spoke to both her husband and to Edith the Maid. Set the tone very well indeed. Rebecca-Louse Smith as Edith provided a chuckle or two as she raced around the stage at breakneck speed.

Keith Badham as Charles Condomine is the consummate actor and carried the part really well, but unfortunately partially due to personal circumstances and an unfortunate accident led to lack of preparation time and he found himself having to take a few prompts. Surprisingly it didn’t affect the pace too much and even produced a few giggles from the audience and one magnificent corpse, which all added to the good humour of the night.

A special word of congratulations to Kevin Fitzgerald playing Dr Bradman, who was appearing on stage for the very first time, but you’d never have known it. He was not out of place in this very experienced company at all! Nice job sir!  Ably supported by Gill George who as Mrs Badman was a perfect upmarket doctor’s wife.  

Adele Tebb glided round the stage as a very silver Elvira. What was clever was both Elvira and Ruth, as a ghost, wore face mics, so with added reverb it gave a slight echo to their speech, very much adding to the ethereal. Nice touch sound man Adam Bowie.

My standout performance has to go to young Rachael Bowie playing Madame Arcati. Definitely the youngest person I’ve seen playing a part that is normally seen as very much for ‘a daft old bat!’ But Rachael certainly put her own spin on it and very much owned the part, dominating every scene in which she appeared. An absolute delight of humour to watch.

So well done to Director John Murphy, his cast and crew, a good choice for your 40th birthday, and one I think of which Noel himself would have approved. You never know he may have watched it through those French Windows.

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