The success of the New Theatre production is not only a reflection of the greatness of Coward, but the eloquence of performance, direction, and costumes.
Julia Newbould
4 Stars
Venue: New Theatre
Newtown, Sydney
Dates: Until December 12th
Blithe Spirit is one of Noel Coward’s later plays and the maturity of his writing shows – it is witty and bright.
It’s been performed on stage since 1941 and has also been made into films and a musical.
The New Theatre has turned this Coward masterpiece into a success story for themselves. The cast, direction, costumes and set elevated this 85-year-old play and, along with the exaggerated posh London accents, made it as enjoyable for today’s audience.
Author Charles Condamine and his wife Ruth Condamine decide to host a party where they invite medium Madame Arcati to help Charles develop a character for the book he is writing. They invite friends Dr Bradman and his wife to dinner and Madam Arcati performs a séance that conjures up the spirit of Elvira, the first Mrs Condamine.
Elvira is determined to cause chaos for both her ex-husband and her replacement.
Only Charles can see Elvira, which makes great comedy, with others trying to talk to her but never able to see her to address her directly.
Director Rosane McNamara has freshened this decades-old play with a colourful combination of actors, costumes, and set. The performance is still clearly set in the drawing rooms of Noel Coward but not set in aspic.
From the moment I saw the set, with its dramatic dove grey curtain backdrop, art deco ceiling halo, decorative phonograph and other deco touches – I was already transported into the play. Tom Bannerman’s set is just perfect.
When the actors came out in their stunning costumes, conjured up by Deb Mulhall and Helen Kohlhagen, I was mesmerised. The dramatic solid colours added an element of solidity to each character, aside from the spiritualist Madame Arcatic, whose jumble of outfits reveals her state of mind.
Madame Arcati – who has been played by Margaret Rutherford (as a slightly more eccentric Miss Marple) and Angela Lansbury (as more of a gypsy type) – was given a different treatment in this production. Played by Emily Weare, Madame Arcati was a cooler, savvier medium. This persona was helped by her costumes – a blend of smart country ladies in sensible shoes and waistcoats crossed with Middle Eastern mystic. Dressed in different ensembles for each appearance, her character was portrayed as less caricature than previous productions and lifted the play’s tone. We are captured the exotic essence of Madame Arcati with dramatic flourishes and command of the stage.
Daisy Cousens, who speaks with a contrived upper-class Coward accent, does a great job as the annoyingly louche Elvira. She floats around the stage as a spirit and her elegance of movement when dancing is a joy to watch. Cousens’ sly side glances at the audience and sharp delivery of lines were perfectly timed to highlight the character’s propensity for mischief. She was spectacularly dressed in grey-coloured ethereal organdie dress which was otherworldly like her character.
This was contrasted with the strong colours worn by Ruth (Michela Noonan) and Mrs Bradman (Gina Cohen), and the men Charles (Mike Booth) and Dr Bradman (Simon Bolton).
Edith (Brigid Jeffries) brought much humour with her physical comedy and facial expressions, silently stealing several scenes.
Ruth (Michela Noonan) is more buttoned up and stiffer as Charles’ second wife and plays more of the straight man in the comedy.
As Charles, Mike Booth is a classic Coward man. He is at the centre of the play but is just reacting to everything around him. He doesn’t realise he isn’t calling the shots until later – and that is mastery in itself.
The success of the New Theatre production is not only a reflection of the greatness of Coward, but the eloquence of performance, direction, and costumes.
4 dry martinis
photos by Bob Seary
Julia Newbould, Theatre Now
