Blithe Spirit, playing only this weekend at the First Unitarian Universalist Church, is my second witnessing of Noel Coward's classic in a week. The interpretations were totally different. This version stays close to the original, obviously placed in England. The cast is older by ten years.
Gregory Cox and Garry Posey's set is a simple suggestion of the sitting room of Charles and Ruth Condomine's (Kenneth Gray and Cheryl Livingston) home featuring an elegant divan and companion chair as well as occasional tables and chairs.
Off to one side is a window with flowing curtains and drapes. The Condomines lived well.
Tonight they would be entertaining their dear friends Dr. and Mrs. Bradman (Ralph Dobson and Debbie Peterson). Fiction writer Charles also invites Madame Arcati (Suzette Southfox) to create a séance, for both pure entertainment value and research for his latest book. Alas, Madame Arcati starts something well beyond her ability.
Elvira (Diane Malloy), Charles' first wife, materializes. Noel Coward has great fun with his audiences as the twists and turns of the plot are revealed.
Gray has developed a convincing character. He is a bit pompous, urbanely charming and always properly attired. When his former wife materializes, he quickly feels at home with her. He makes the weird arrangement seem totally logical.
Southfox creates a delightfully eccentric Madame Arcati. Her wardrobe is garish, but it's her physicality that opens up her character's theatrical flair with waving of hands, prancing about the room and total control of the stage as her fellow cast members focus on her. She had a three-octave vocal range that begins somewhere deep in a baritone's lower register and climbs to a high soprano.
For comic relief, Patience Winters, as tyro maid Edith, comes complete with totally non-maid behaviors. She has one speed: too fast. She even does a pratfall. Her lines are minimal, but her actions speak hilarious volumes.
The production's pacing can be choppy and slow, which accounts for a running time of just under three hours with a 15-minute intermission. I'm confident it will pick up in subsequent performances.
The hair styling feels appropriate except Elvira's wig, which is much too showy. Malloy's overdrawn interpretation doesn't convince me that her Elvira is still in love with Charles.
Livingston, too, appears hesiitant in some of her reactions to the events her character meets. Dobson and Peterson provide a nice balance.
There are many fine bits and delightful reactions to the antics of Elvira and Madam Arcati. A unique addition to the set is a table-top photo frame that shows an image of Charles and Ruth. During a set change after Elvira's entrance, her image is added. Nice touch!
