Enter Your Article Text Here! Reviewed by Barry Lenny, Sunday 15th August 2021.
Having been delayed by a COVID lockdown, the University of Adelaide
Theatre Guild has opened its production of Noël Coward's 1941 comedy,
Blithe Spirit. After 80 years, a synopsis seems hardly necessary and, I suspect, some in the audience were quite familiar with the play, or perhaps the 1945 film starring
Margaret Rutherford as Madame Arcati. It's one of those plays that people will go to see, time and time again. This production is directed by the award-winning Guild regular, Megan Dansie, who also designed the production.
For the benefit of those few who might never have seen the play, here is a brief rundown. Author, Charles Condomine, is planning a novel about a homicidal spiritualist. He, and his second wife, Ruth, are entertaining Dr. and Mrs. Bradman. Hoping to get ideas for his next book, he has arranged a séance, run by the eccentric medium, Madame Arcati. At the end of the séance, however, Charles hears the voice of Elvira, his first wife, but nobody else hears her and he pretends that he was joking. When everybody has left, Elvira appears, and his life is turned upside down. She wants to pick up where they left off, and needs to get him away from Ruth. It is up to Madame Arcati to dispel the unwanted visitor, but she has no idea how that is to be accomplished. A series of events, caused by Elvira's efforts to win back Charles, only make things worse. The over-active maid, Edith, has a secret, too.
Brad Martin portrays Charles Condomine as suave, sophisticated, and shallow, but generous with his exceptionally strong dry martinis and large serves of brandy. Martin's Charles is self-centered, egotistical and, after his initial shock, he revels in the attention of the two wives. He gives us plenty of laughs from the situation.
Miriam Keane, as Ruth Condomine, and Emily Currie, as the late Elvira Condomine, create two complete opposites. Currie's Elvira is flighty, flirty, glamorous, all style and no substance, and highly dangerous, while Keane's Ruth is down to earth, straightforward, no-nonsense and, until the séance, has her measure of Charles. They both create characters who interact superbly with Charles, and with each other.
A séance with three would be inadequate, of course, so Coward added the Bradmans to make up the number, but with both written as well-developed characters. Steve Marvanek, as Dr. Bradman, and Esther Michelsen, as Mrs. Bradman, do well, fleshing out their characters into three-dimensional personae.
The highly experienced performer, Jean Walker, plays Madame Arcati, bringing her vast experience to bear and throwing herself wholeheartedly into the role. She uses the entire stage to great advantage in her intricately choreographed séances and trances, and really looks the part in her colourful outfits. Looking at her extensive jewellery, that song from Kismet, about baubles, bangles, and beads, came to mind. That was a great finishing touch to the visual aspect of the character.
Ashlee Scott is Edith, as bright as a button and generating plenty of laughs as she races about the set as the enthusiastic young maid trying hard to control her exuberance, and failing. Oddly, Dansie did not opt for giving Edith the expected working-class Kentish accent, which should have been easier, but something vaguely northern, which gave Scott some problems.
The set is the elegant living room of the Condomine's house in Kent, a single door at the rear showing a corridor leading to the front door, the servants' quarters, and the rest of the house. The door to the garden is via an aisle through the audience. It is effectively lit by Ellen Demaagd, who also designed the sound. A friend remarked, "fabulous frocks", and the costuming, by Gilian Cordell and the cast, is certainly notable.
Dansie has brought out all of Coward's famous wit, and crafted a clever production through the transparent direction of her excellent cast. You still have time to catch a performance, so book your tickets today.
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