Review: Noël Coward's BLITHE SPIRIT Is Given A Modern Makeover In Sydney Theatre Company's New Staging

Friday 1st April 2022, 7:30pm, Drama Theatre, Sydney Opera House

BLITHE SPIRIT, the satirical farce about the pitfalls of interrupting the souls of those past on for personal amusement plays out at the Sydney Opera House. Under Paige Rattray's direction, Noël Coward's classic is revived for a modern generation while still showing the absurdities of human behavior remain relevant 81 years after the work premiered on the West End in 1941.

Set in a grand home somewhere in rural England, at least a decent bicycle ride of numerous hills away from the nearest town, BLITHE SPIRIT takes place completely in David Fleischer's (Designer) expression of the home of successful author Charles Condamine (Matt Day) and his second wife Ruth (Bessie Holland), a socialite also on her second advantageous marriage. Amongst the accoutrements of what Ruth and Charles view to be indicators of wealth and sophistication, from a coat of armor and a marble plinth topped with a bowl of metal fruit positioned inexplicably in the center of the living room to an amusingly phallic fountain that dribbles water in the background, the odd couple that seem more paired for 'convenience' than true affection, are preparing for an evening with the only 'friends' they think will sit through the bizarre experiment of a séance, staged as research for Charles' latest book. While Madame Arcarti (Brigid Zengeni), a modern spiritualist armed with smudge stick, feathers and an infrared temperature gun seems more charlatan than serious, it turns out that maybe she does have some real skills. Recalled from the other realm is the surprised Elvira (Shane Janek AKA Courney Act), though only Charles can see and hear his glamourous first wife as she glides around the space as a silvery grey expression of what she looked like when she died of pneumonia 7 years earlier. What unfolds is the challenge of living in a house inhabited by two jealous wives and the living's eventual desire to try to rid the house of the unseen guest(s) but can Madame Arcarti reverse her spells?

The broad stage of the Drama Theatre allows Fleischer to create an incredibly detailed set that contains design elements from the past few decades, anchoring the work in the contemporary era without including modern technology. It is noted that the depth of the set, with sliding doors giving glimpses of an entrance hall and a dining room beyond the sitting room, could potentially restrict the audience view and deprive people of Megan Wilding's wonderful antics as the eager to please, nervous new maid Edith. Just as the Condamine's interior design attempts to display wealth, if somewhat tackily in the overload, Fleischer has the costuming also convey that they are more about appearances than having any real fashion sense, from Ruth's gold chain trimmed "CROCS" (think the Balenciaga and Crocs collaborations and Gucci's homage to the plastic monstrosities) to Charles' quilted pants that look like upcycled mattress protectors. Madame Arcarti's eccentric nature is extended to cycling mad mystic's attire scavenged out of an op-shop while the Dr Bradman (Tracy Mann) and Mrs Bradman (Nancy Denis), the other guests at the séance, are presented as equally bland and boring as the limited character development Coward gave the two in the script. The elegance of the aesthetic comes from Elvira's flowing robe, highlights of silver accessories and perfectly flowing curls, highlighting the contrast between the first and second Mrs Condamine.

In addition to Coward's clever lines, Rattray has ensured that this work is filled with fabulous physical comedy. Wilding's facial expressions ensure that it is clear that Edith is the only one truly aware of the absurdity of the household as she switches from schooling her expression to contrite submission when Ruth can see her but pulling faces behind her back. The leggy Janek's talents as international drag queen Courtney Act is fully utilized to as they use the long satin robe to full dramatic advantage and have fabulous Drag Diva musical scene transitions. Rattray has opted to have the core characters have an air of realism underneath the absurdity while Dr and Mrs Bradman, who are really only present to make up the required numbers for the séance, are presented as extreme caricatures of respectable polite behavior to make up for the lack of character depth. Rattray ensures that all the dramatizations, save Wilding's Edith, fit with Coward's assertion that none of the characters evoke sympathy as they are all self-centered, thoughtless, and ultimately indifferent to the people around them. Bessie Holland ensures Ruth is overbearing and controlling while Matt Day conveys that Charles seems more connected to Elvira than any true devotion to his living wife, pacifying her with platitudes but ultimately not being as concerned with her feelings as those of the spirit visitor. As Madame Arcati, Zengeni ensures that the woman is seen as an opportunist, first making the most of being invited into the extravagant household and later focusing on how the revelation that she's finally managed to manifest a spirit may elevate her status in the society of mediums rather than finding a timely solution to the problem of returning Elvira to the afterlife.

BLITHE SPIRIT is a wonderful piece of absurd comedy that is the perfect escape from the challenges that life keeps throwing up, particularly over the past few years. For anyone wanting a night of entertainment where they don't have to think too hard, this is the perfect play.

https://www.sydneytheatre.com.au/whats-on/productions/2022/blithe-spirit

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