BLITHE SPIRIT

by Noel Coward

Worsley I.T.S

 

Having watched with considerable interest your transfer from Worsley Courthouse to Bridgewater School, I applauded your first productions and the consequent adaptability to imaginative use of simpler suggestions of set. These first few plays gave you invaluable experience of how best to use the vast space now at your command. On my way here tonight, the thought did cross my mind that this play does demand a more traditional representation of a furnished room than the way you had suggested trenches, P.E. benches, and the coal face, etc. As ever your set was open to us all as we entered and what a wonderful job you had made of it. Sumptuous in the extreme, oceans of space with comfortable furniture, double doors USC with large bookcase, and hidden stairs L, patio doors to a garden with greenery; walls on three sides papered white; tables and drinks cabinet; chairs; and decor which included flowers, photographs, pictures and details plus all the room in the world to move around in – masking? – what’s that? Congratulations on the excellent job made of it – I believe begging and borrowing had come into it, as well as plain hard work and imagination. You’ve passed your test now in converting a school Assembly hall for theatrical purposes – next step – “Ben Hur” or “Round the World in 80 Days”?

 

“Blithe Spirit” was described by the author, Noel Coward, as “an improbable farce”. It is a famous, play, which takes us back to 1941. and is in the repertoire of most companies. It is the third play I was ever in, so there was a piece of youthful miscasting – not so tonight where each member of cast seemed admirably suited and comfortable in their characterisations. The story is about an author Charles Condomine, who, to provide material for a book he is writing, invites Madame Arcati, a local medium, to his home to conduct a séance. All it succeeds in doing is to bring Elvira, Charles’ first wife back from the dead. She is very happy to return to Charles after seven years and certainly immediately starts to cause problems for Charles, and much to her delight also, for Charles’ second wife, Ruth. A second séance, desperately organised by Charles with Madame Arcati, to solve the situation is only partially successful and in the end, only makes matters worse, but we do learn some surprising things during this hilarious evening.

 

The cast worked well as a team, so vital in this play which is full of opportunities for comedy and the interpretation of out of this world situations for which you can have no experience in real life. An example of this involves Charles, Ruth and Elvira. Charles knows Elvira has returned and can see and hear her; Ruth doesn’t, interprets what Charles says as insulting to her and eventually assumes he is mad. Essential in similar situations for actors to work as a team and thus was undoubtedly a feature of performance tonight. Timing and reactions were spot on and it was easy to believe what was going on was actually happening on stage and the cast was actually in the unfortunate situation. Hence, the fun – we the audience- - were able to get out of the situation.

Charles was played by Steve Harrison with complete assurance and understanding. He knew the situation he was supposed to be in and played the character for all he was worth. We saw surprise, incredulity, misunderstanding, disbelief, puzzlement, anger, wonderment, patience and affection in Charles and his final speech about going away, delivered amongst falling objects and leaving the house to his wives, who were unable to get back to wherever they had come from, was quite memorable. Well played.

 

Ruth was Julie Burrell and she kept up her impeccable upper-class accent throughout. She acted out the desperate situation she found herself in, at first showing well the affection she felt for Charles and trying to rationalise the inexplicable things that were happening and being said to her. I have already mentioned the size of the set and Julie used it well, striding around it as if it was her own house not a made up one, and defying anyone else to win an argument in it. She kept the pace of the play buzzing along and was so believable that we actually began to feel sorry that Madame Arcati’s attempts hadn’t succeeded in returning her “”beyond”. Well done!

 

Elvira, Charles’ deceased first wife, was played by Esme Mather, and she captivated us right from her first entrance. Well aware that only Charles could see her, she made the most of and exploited the situation from the start. Relishing the situation, her face reflected all the mischievous fun she was having, and, throughout the play, the myriad expressions crossing her face were, I feel sure, of constant fascination to the audience. There had obviously been great affection between her and Charles, and the way they both expressed their mounting frustration and anguish at Madame Arcarti’s activities, was well shown, particularly when Ruth joined them. A well played performance, full of originality and fun.

 

Wendy Heydon brought all her talent and experience to bear as the eccentric Madame Arcarti. Full of command and not to be dealt with lightly, she soon made her presence felt and her movement soon encompassed the whole room. Hoping to be told of creaking floor boards and moaning in passages, but soon settles for the reported manifestation. The scene with Charles and Elvira, where he persuades Elvira to bring her flowers, books etc to prove her presence although invisible to her, was beautifully dealt with by her and her subsequent unsuccessful attempts to sort things out, were played with excellently engineered and most believable reality and complicated technique. Very interesting for the audience and super examples of team playing from the cast involved. Well played.

 

Edith, the maid, was Laura Arthern and, somehow her characterisation helped to create a sense of community. Her hilarious attempts to obey Charles’ continual reminders to get her to slow down and walk somewhat dignified, were a source of great fun for the audience every time she tried to manage it. The look she gave Charles the first time she got it right was worth the admission price on its own only to ruin it by her running exit. Quality in a brief appearance.

 

Mike Jones and Kath Harris played Dr and Mrs Bradman, friends of the Condomines, and sharers in the first séance, which gave them friendly entertainment. They were very convincing in their relatively small parts, becoming involved in a situation they knew nothing about and couldn’t explain. Their reactions and demeanour spoke volumes, and their partnership gave depth to the story through being involved in a mysterious situation through no fault of their own.

 

Daphne was Kate Harrison whose disembodied voice was part of the fun and who, though unseen, was an integral part of the story.

Congratulations to Nicholas Eccles who “masterminded” the production. Not the easiest play to direct – Coward never is – but you gave us a production that you and your cast can be proud of. It had depth, originality and clearly defined characters, who appeared to be enjoying and getting much out of the story they were telling. The audience much appreciated your work as I did, as well as realising all the hard work that had gone into its creation. Well done.

 

Many thanks for your warm welcome and hospitality as ever. Happy playmaking.