Blithe Spirit

Blithe Spirit was conceived, whilst Noel Coward was on holiday in Wales, as a ghostly light comedy.  Written in six days, the play has all the ingredients for a mysterious evening and was immediately a great success moving from the provinces to the West End in less than a month. It set a record for non-musical plays that was not surpassed until the arrival of The Mousetrap in 1957. Set in the period in which it was written it appears to have a timeless quality implying it could have been written yesterday.  The play is equally accessible to both amateur and professional performers and can be staged very simply without losing the character.

This society is able to celebrate its successes in NODA and displays all its accolades throughout the bar together with collages of previous shows.

The open stage at the beginning gave the feeling that we were very much part of the action.  The furniture and set dressing had been accumulated most diligently and certainly gave the feeling of the 1940s.  The lighting supported the action well and together with the “effects” needed for the spooky sections.  The swinging chandelier, the moving pictures, the falling curtain pelmet to name but three effects certainly worked well and enhanced the action.

The attention to detail on the costuming is to be applauded.  From turn ups to period shoes from Madame Arcati’s headgear to the beautiful dresses of the period for the other ladies.The frequent changes for the cast were appreciated by the audience.  Ruth Condomine so ably played by Sarah Andrews had many outfits all of which truly maintained the image of the 1940s.  The only aspect which confused me slightly was the make-up and clothing for the “spirits” - they appeared slightly too healthy and robust.

The cast of seven had really worked on creating detailed characters.  Peter Andrews adeptly playing the celebrated novelist in a mildly affable and eccentric style working well with his second wife played with great style by Sarah Andrews. Dr Bradman played by a real doctor, Alec Walter, supported by Heather Bradford as his acquiescing wife created appropriate tension.  The first wife Elvira, played by Eleanor Marsden achieved a fine elfin quality to the role creating a mischievous atmosphere around her.The arrival of Madame Arcati really lifted the show to a different level.  Mary Mitchell is to be congratulated on maintaining her mannerisms and eccentricities under each and every circumstance wearing the most appropriate clothes for the role. Her ability to use the dramatic pause was admirable.  The opening of the play features the servant, Edith, moving things around the set in a very staccato manner.  This mannerism was maintained throughout except when she was reminded to slow down.  In this role, Jenni Walker, made her character shine amongst the whole household.  This truly professional production was a delight to watch and follow.  The cast maintained a cracking pace throughout; developing their characters well.  Congratulations to everyone involved on a splendid evening’s entertainment.

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