Blithe Spirit
by Noel Coward
Directed by Richard Eyre
Designed by Anthony Ward
Bath Theatre Royal
Thursday 4th July 2019, 14.30
CAST
Jennifer Saunders – Madame Arcati
Lisa Dillon – Ruth Condamine, Charles second wife
Emma Naomi – Elvira, Charles’ first wife
Geoffrey Streatfield – Charles Condamine
Simon Coates – Dr Bradman
Lucy Robinson – Mrs Bradman
Rose Wardlaw – Edith, the maid
Jennifer Saunders as Madame Arcati
This is Bath’s fourth Blithe Spirit in 25 years. They must know it works. We last saw it there in 2010 with Alison Steadman in the Madame Arcati role (LINK TO REVIEW). We watched the 1945 film a few weeks ago – another one is on the way starring Judi Dench. Mostly reviews describe past versions by whoever played Madame Arcati (from Margaret Rutherford in 1941 and in the 1945 film, to Angela Lansbury in 2014), so here it’s Jennifer Saunders, though the addition of Lisa Dillon as Ruth this time is another major reason for seeing it.
The dinner party before Madame Arcati arrives: Ruth (Lisa Dillon), Mrs Bradman (Lucy Robinson), Charles (Geoffrey Streatfield), Dr Bradman (Simon Coates)
The plot: Charles Condamine is a successful author, and wants to research his next novel about a fake medium. So he invites Madame Arcati to dinner and to conduct a seance. His second wife is Ruth. They invite the local doctor and his wife. They all see it as a bit of fun, but Madame Arcati is totally serious. She puts on ‘Always’ which was Charles’ first wife’s favourite record. The first wife, Elvira, had died seven years earlier – in this very room.
The seance: Geoffrey Streatfield as Charles, Lucy Robinson as Mrs Bradman, Jennifer Saunders as Madame Arcati, Lisa Dillon as Ruth, Simon Coates as Dr Bradman
Inadvertently she brings Elvira’s ghost back from ‘The Other Side.” Trouble is, while Charles can see and hear her, nobody else can. Elvira doesn’t go away either. The flighty Elvira creates mayhem with the put-upon Ruth, though Charles rather likes the idea of two wives. The thing is when he’s talking to Elvira (Shut up!) the outraged Ruth thinks he’s talking to her.
Elvira (Emma Naomi) watches Charles (GeoffreyStreatfield). Charles had put the record of “Always” away and has just discovered it back on the turntable.
Ruth brings Madame Arcati back to the house see if she can exorcise the spirit, which Elvira finds most aggressive. Elvira has plans to bring Charles to her forever.
Elvira and Ruth. Charles and Madame Arcati.
Anthony Ward has created a magnificent and mighty set – it stretches through three floors, two of which are lined entirely with books. We have French Windows, an impressive double door and a massive Tudor brick chimney place.
The play is judged on Madame Arcati. Alison Steadman plays her as jolly hockey sticks, fond of cycling seven miles (it’s stimulating) and not one to say no to proffered food or drink. She does this with an array of physical mannerisms. The costumes (especially the day wear) are frumpy in the extreme. She perfectly captures the amateurism with her range of conditions for a trance (such as no red meat) together with the amazed excitement when she realizes she actually has conjured up a spirit.
Elvira is holding Madame Arcati’s bag, but to Madame Arcati it’s floating in mid air.
When we first saw the casting, we guessed Lisa Dillon would play Elvira, because in the past Elvira has been small, elfin, light skipping across the furniture. But no, Lisa Dillon is Ruth, and it’s a good decision because while it’s the straight part, any double act comedian can tell you that the comedy relies on the quality of the straight one. Ruth probably has most lines too. She gets the best frocks.
Ruth (Lisa Dillon) is confronting Charles (Geoffrey Streatfield) about his weird and apparently rude behaviour last night.
Geoffrey Streatfield is a perfect Charles too – he has delight, suspicion, frustration, being drunk, rumbling Elvira’s dastardly plot. You always know which part Noel Coward played himself, and he did Charles Condamine on tour in the Second world War.
Emma Naomi is the glamorous Elvira. As usual, she has a grey wispy costume and white hair. She’s not clipped RP like the others either. She’s taller than Ruth, which is unusual.
Simon Coates and Lucy Bradman are the country doctor and his wife. You can imagine the large Rover parked outside (a Jag would be too flashy), the golf club membership.
The final part is Edith the Maid, who turns out to be the plot hinge. Rose Wardlaw plays her physical business superbly. Running when she should be walking, eavesdroping, staggering around with trays. As I write this, thinking about all the demands for at least equal gender division on stages … the Right-On lobby could try looking at Noel Coward. This comedy classic has five female roles, and two male.
Rose Wardlaw as Edith, the Maid
So, on the way out, I asked Karen for a one word appraisal. ‘Ostentatious.’
I know what she means. The set was elaborate of course, the costumes lovely, but they used a lot of effects. Elvira’s first appearance on high (on the upper landing) is only her lit in glittering silver and purple. At the end, both Elvira and Ruth ascend through darkness to the roof – I thought it was projection, but they come back flying on wires. The set rocks, pictures tumble and books fall at the end … lots and lots of books and it was a matinee, and someone has to climb up the spiral staircase and replace them before the next performance. It jars just a little, because the genius of Noel Coward in this play is creating the occult so very simply. A grey frock, a white wig and a bit of pale make-up does the job for Elvira, then all the other stuff is acting – not knowing where she is and talking to thin air for Ruth and Madame Arcati. Yes, they do that perfectly in this production too, but often that’s all there is.
Karen pointed out that one of the inherent tricks is Elvira moving items around and the others acting as if they’re flying through the air. So Elvira is invisible, but stuff she moves is visible. So how come she goes over to the fireplace and lights a cigarette? Wouldn’t the others see a cigarette and smoke in thin air?
We usually sit in the front row of the Royal Circle, but it’s too cramped for my knee now, so we moved a couple of rows back. Sound suffered compared to the front row, I thought, and maybe the three story set didn’t help. You don’t feel you’re under the main circle above in the front row. You do in Row C where the ceiling is apparent. Bath and Chichester share some touring productions in the winter, and when a play is at both, I’d choose Chichester for sound and comfort every time – they’re equidistant from our home in Poole, but Chichester’s a much faster road.
It’s one of Coward’s best plays – we’re seeing another next week, Present Laughter. Strangely the other great, Private Lives, which I’ve seen so often, pre-dates this blog. Jennifer Saunders joins the ranks of the great interpretations of Madame Arcati AND does it differently and adds new physical stuff.
****
WHAT THE CRITICS SAID
****
Claire Brennan, Observer ****
Domenic Cavendish, Telegraph ****
Sam Marlowe, The Times ****
Jeremy Brien, The Stage ****
***
David Bowie-Sell, What’s On Stage ***
Arifa Akbar, Guardian ***
LINKS ON THIS BLOG
Blithe Spirit: The 2020 film with Judi Dench as Madame Arcati.
PLAYS BY NÖEL COWARD
- Blithe Spirit by Noël Coward, Bath Theatre Royal 2010 (Alison Steadman)
- Blithe Spirit, by Noël Coward, Bath Theatre Royal 2019 (Jennifer Saunders)
- Blithe Spirit FILM 2021 (Judi Dench)
- Fallen Angels, by Noël Coward, Salisbury Playhouse
- Hay Fever by Noël Coward, Bath Theatre Royal
- Relative Values by Noël Coward, Bath Theatre Royal
- This Happy Breed by Noël Coward, Bath Theatre Royal
- Present Laughter, by Noël Coward, Bath Theatre Royal, 2003 Rik Mayall (retrospective)
- Present Laughter by Noël Coward, Bath Theatre Royal 2106, Samuel West
- Present Laughter by Noël Coward, Chichester 2018, Rufus Hound
- Present Laughter by Noël Coward, Old Vic 2019, Andrew Scott
- Private Lives by Noël Coward, Nigel Havers Theatre Company, 2021, Chichester
- Noël Coward’s Brief Encounter, by Emma Rice, Salisbury 2023
RICHARD EYRE (DIRECTOR)
Long Day’s Journey Into Night, Eugene O’Neill, West End 2018
Mary Poppins, Norwich, 2016
Quatermaine’s Terms by Simon Gray, Brighton 2013
JENNIFER SAUNDERS
Lady Windermere’s Fan by Oscar Wilde, Classic Spring 2018
LISA DILLON
The Roaring Girl by Dekker & Middleton, RSC 2014 (Moll Cutpurse)
The Taming Of The Shrew, RSC 2012 (Kate)
Birthday by Joe Penhall
King John, Rose Kingston, 2016 (Lady Constance)
Love’s Labour’s Lost, RSC & Chichester 2016 (Rosaline)
Much Ado About Nothing (Love’s Labour’s Won) RSC & Chichester 2016 (Beatrice)
GEOFFREY STREATFIELD
My Night With Reg, by Kevin Elyot, 2015 (Daniel)
SIMON COATES
Richard III, Almeida 2016
King John, Globe (Philip of France)
Romeo & Juliet, Headlong (Friar Laurence)
EMMA NAOMI
Don Juan in Soho, 2017
ROSE WARDLAW
Eyam, Globe 2018
The Winter’s Tale, Globe 2018