Blithe Spirit

The title of this play by Noel Coward is taken from Shelly’s poem "To a Sky Lark", ("Hail to thee, blithe spirit! / Bird thou never wert"). For some time before 1941, Coward had been thinking of a comedy about ghosts and this ever popular play was the result. It continues to be a certain winner with audiences, where its setting is in the early 1900’s, its writing in the 40’s and playing in the 21st century are happily combined. Director Simon Vyvyan got to grips with the tension and passion of this well known play and led the small cast to a successful presentation. All the principals handled the content and the emotions of the narrative with conviction.

Everyone entered into the spirit of things, with enthusiasm oozing from Nigel Peacock as Madame Arcati !!  I feel this must be a first.  He was outstanding making a wonderful woman but certainly not a pantomime dame. Quite a performance. The excellent comic timing and a splendidly bombastic performance from Stevie Lambert as Charles maintained his characterisation throughout. His disregard for his new wife Ruth (Nadya Henwood) was evident, whilst his equal love and loathing of first wife Elvira was palpable. Nadya as the headstrong Ruth shone from the stage. With a clear understanding of the role, she created a character full of both confusion, anger and determination. The fight between her and Stevie was one of the most memorable scenes. Tanya Beane as Elvira was magical and ethereal. Her treatment of her ‘husband’ was naughty and flighty but simmering with passion and determination tempered by desire to try and keep him, despite the impossible situation. Of course that is not quite as easy as it seems even for a spirit from the other side and what caused her to materialise in the first place?

Supporting these four excellent characters we had Stella Russell as the maid, Luke Charles as Dr Bradman and Jenny Pickering as his wife. All three of these players gave sterling performances ensuring that the show was a sure-fire winner. The storyline kept the audience's attention right to the last curtain line and the group played admirably on their fairly small stage.

The set design was well thought out thanks to Simon and Keith Daly who also stage managed the production. Lighting in the hands of Laura Thornett and Tom Wortley and sound and effects courtesy of Rob Gresty added hugely to the magic and mystery of this story of the occult. The costumes organised by Rita Rooke-Matthews seemed so right for the show and the props team had made a great effort making the set look ‘well dressed’. All together this whole production was a joy in every respect.  Well done all of you.

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