Blithe Spirit

Despite their name, Spotlight Musical Theatre Group have begun, over past few years, to put on a few plays. Looking through their catalogue of past shows, the diversity of the titles, especially some of the challenging musicals that they have taken on, is very impressive. It is wonderful that the group caters for every age group who wishes to perform regularly, going from Dorothy in Wonderland last year, to Blithe Spirit on this occasion, to the musical version of The Secret Garden later this year.

Blithe Spirit is one of Noel Coward’s most well-known works, and it takes a huge effort to successfully tackle the challenging language, timing, wit, and satire across to the audience. I was in attendance for the opening night of two performances. Needless to say, aside from a few brief prompts, Spotlight again rose to the challenge and produced an excellent night’s entertainment.

The in-house built set had been designed to make particularly good use of the wide stage at Beccles Public Hall. Furnishings within the 1930’s lounge included a gramophone, bookcase, drinks trolley, and a centre stage placed authentic Chesterfield sofa and chair. Props were also good, and costumes suited the era. The play flowed very well, and the spacings and positionings of the cast was good, although the placement of the table for the séance downstage left, did leave Madame Arcati masked a little to some of the audience by the three other members of the cast sitting at the table.

Nikki Mills, as the servant Edith, opened proceedings and immediately set the audience laughing with a wonderfully comic characterisation, shuffling slowly across the stage with a facial expression that perfectly conveyed the sense that everything was just a little too much effort.

Ginnie Jones was well cast as Mrs Violet Bradman, clearly understanding and conveying the subtle humour in Coward’s writing. Her pairing with Paul Clark’s Dr Bradman—played with a measured and restrained demeanour—proved effective, creating a well-balanced and convincing on-stage partnership.

As the late wife of Charles Condomine, Clare Jameson judged the character of the mischievous and manipulative Elvira very well, as she playfully moved positions each time someone was trying to address her directly.

Similarly, Tina Vanston was spot on in capturing the scatty and eccentric Madame Arcati, her reactions when taking umbrage over the thought that she had been brought to the home as a prank were comedy gold, as well as her constant acceptance of the sandwiches and drinks on offer.

Finally, the pairing of Matthew Vanston and Tiffany Campbell-Smith, as Charles and Ruth Condomine, was a master stroke-both were absolutely brilliant playing against each other, fantastic upper middle-class accents, and on-stage chemistry, with excellent timing, dry humour, and quips. When the two became three with the introduction of Elvira, it was a pleasure to watch them all trying to outmanoeuvre each other through the ensuing chaos.

My congratulations to Director Mary Snow, and thanks to all at Spotlight for a lovely evening.

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