Adriane Daff and Adam Booth in Black Swan’s Blithe Spirit. Photo by Gary Marsh Photography.
Some classics are specifically of an era, relics granting windows into the past. Noël Coward’s supernatural comedy was written in the dark days of World War II, with escape to the foibles of the upper class of the recent past attracting enough interest to give it a record-breaking West End run. Despite being particularly of a certain time, place and class, as with all enduring plays Blithe Spirit contains consistent truths about the human experience.
Charles Condomine is a novelist seeking inspiration for his next book. With his wife, Ruth, he throws a dinner party to observe the techniques of Madame Arcati, a local medium. The after dinner séance paves the way for Elvira Condomine, Charles’ late first wife, to return for a visit. Elvira’s stay in the house quickly wears thin for Ruth, unable to see or hear the mischievous spirit but sharp enough to realise when she is being mocked. Ruth also realises the danger that Elvira poses to Charles, but he does not understand the implications until far too late.
Director Jeffrey Jay Fowler is known for his original scripts and innovative collaborative theatre pieces, so it is fascinating to see him present Blithe Spirit as a strict period piece, a quintessential drawing room drama. Supporting Fowler’s vision is Bryan Woltjen’s sumptuous costuming and set design, with keen attention to period detail.
The cast rejoices in excellent vocal work from each and every actor – voice and dialect coach Luzita Fereday should appreciate the consistency across the ensemble. Coward’s sly wit shines through, impeccably delivered with rapidly enunciated wordy sentences faultlessly presented throughout.
As Charles, Adam Booth is master of detached reserve, but reacts authentically to his character’s predicaments. Adriane Daff’s Ruth is totally glamorous, intimidatingly collected and able to deliver acerbic ripostes perfectly even at moments of extreme stress. Michael Loney brings his mellifluous tones and gravitas to the stage with his twinkle-eyed, sceptical Dr Bradman, while Michelle Fornasier makes the most of her counterpoint role as Mrs Bradman, demonstrating a great sense of comic timing in her awkward phrases and disconcerting reactions.
Edith is brought to life by Ella Hetherington’s engaging physical theatre, creating an element of clowning in an otherwise verbally intense production. Jo Morris seems to be enjoying herself as her character Elvira delights in the chaos created around her, a treat to watch. While this will change through the run, seeing Alison van Reeken play the demanding role of Madame Arcati after only three days of rehearsal is impressive. Her many convoluted lines are delivered with clear and confident diction, her physical presence and timing are compelling, and yet she performs with a script in hand. The extra paper on stage does not distract from the dramatic events as they unfold, further impressing with the skill on stage.
A faithful presentation of a popular piece of yesteryear, Director Fowler and his cast demonstrate how a work can stay fresh and compelling from one generation to the next. A vintage addition to the year’s program of works for Black Swan State Theatre Company, Blithe Spirit provides light-hearted, intelligent entertainment on several levels.
Rating: 4 stars out of 5
Blithe Spirit
By Noël Coward
Presented by Black Swan State Theatre Company
Director: Jeffrey Jay Fowler
Set & Costume Designer: Bryan Woltjen
Lighting Designer: Jon Buswell
Sound Design / Composer: Ash Gibson Greig
Voice & Dialect Coach: Luzita Fereday
Performed by Adam Booth, Adriane Daff, Michelle Fornasier, Alison van Reeken, Ella Hetherington, Michael Loney and Jo Morris
Heath Ledger Theatre, State Theatre Centre
18 July – 9 August 2015
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