OUR VERDICT
Noël Coward’s supernatural comedy (a niche genre, I know) is certainly an unusual one; Coward is said to have written the inventive piece in just six days back in 1941, with an intention to distract the public from the horrors of World War II.
The play was first seen in the West End that same year and created a new long-run record for a non-musical British play with an impressive 1,997 performances. Now it’s back, briefly at Richmond Theatre before opening at London’s Duke of York in March.
The plot revolves around novelist Charles Condomine and his second wife Ruth, who is quite literally haunted by a past relationship when an eccentric medium - Madame Arcati - inadvertently conjures up the ghost of his first wife, Elvira, at a séance. When she appears, visible and audible only to Charles, and determined to sabotage his current marriage, things get, well, complicated.
Credit Photographer Nobby Clark Photograph by Nobby Clark
Designer Anthony Ward’s set is impressive – a split level arrangement with sprawling bookcases, vast French doors and a feeling of period elegance and cosiness.
The haughty Charles Condomine played smoothly by Geoffrey Streatfieild (Spooks, The Thick of It, Traitors), is busy mixing dry martinis whilst exchanging acerbic words with wife Ruth, written in the way that only Coward can.
Lisa Dillon (BBC1’s Cranford) plays Ruth well – she is energetic, silver-tongued and her smooth ‘darlinggggg’s are wonderfully persuasive.
Credit Photographer Nobby Clark Photograph by Nobby Clark
Their friends, Mr and Mrs Bradman (played by Simon Coates and Lucy Robinson) arrive. Both couples feverish await the arrival of the unconventional Madame Arcati, who claims to be able to converse with the dead. They gossip and speculate about the quirky clairvoyant’s abilities - Simon Coates plays the dry and doubtful doctor with ease, as does Lucy Robinson as his wide-eyed and excited wife.
We also meet Edith, the parlour maid – nervous, clumsy and always crashing through the corridors, much to the dismay of Mrs Condomine.
Rose Wardlaw provides amusing slapstick moments throughout, although I feel they could be funnier if turned down a notch or two. Her shocking ‘Exorcist’ moment towards the end of the play, however, is brilliant.
Soon, the much-anticipated Madame Arcati arrives, and the comedic authority that is Jennifer Saunders does not disappoint. It’s a terrific part for anyone to play, but it suits Saunders well – posh, old fashioned, eccentric jolly-hockey-sticks mixed with immense physical comedy, at times reminiscent of her former Ab Fab character Edwina Monsoon – the ungainly manner, social awkwardness and unconventional fashion choices. She sits on the sofa, hot and sweaty having cycled several miles, in a cardigan that doesn’t quite do up, fanning herself up her skirt, with stockinged legs akimbo.
Credit Photographer Nobby Clark Photograph by Nobby Clark
This is just the beginning of Saunders’ intelligent and incredibly funny portrayal of the loveable, bohemian old medium.
The paranormal goings-on are executed well, and they can be a challenge on the stage. The spooky arrival of Charles’ spoilt but incredibly seductive (dead) ex-wife Elvira garners a gasp from the audience, although I found Emma Naomi’s costume more panto than period, and her contemporary delivery felt out of place.
Director Richard Eyre is a pro - he was director of the National Theatre for ten years, is the winner of five Olivier Awards, including a Lifetime Achievement Award, and more - and it shows.
The play rumbles along at a reasonable pace and the dextrous cast make sure that Coward’s frivolous comedy continues throughout.
Credit Photographer Nobby Clark Photograph by Nobby Clark
The design team excel themselves - the first séance is particularly effective, with the entire auditorium plunged into darkness, save for the small lantern in the middle of a table, which lights the faces of the five apprehensive characters.
There are some confusing music choices in the scene interludes, and a rather odd moment when the stage falls to black to the sound of Can't Take My Eyes Off Of You by Damien Rice, and half the auditorium got up to leave thinking it was the interval (note – this is not the interval).
The final scene, however, is a tremendous, supernatural romp and the genius set really comes into its own – I won’t spoil anything, but as the saying goes - ‘hell hath no fury like a woman scorned’, especially if she’s dead, it seems…
Blithe Spirit is on at Richmond Theatre until 23 Feb before transferring to The Duke of York's Theatre from 5 March-11 April 2020 atgtickets.com
