Blithe Spirit, Questors Theatre Review
Reviewed by Charlotte for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Blithe Spirit is widely regarded as one of Noël Coward’s seminal works. It has a long and illustrious production history across the UK and US, regarded for its blend of farce with darker tones of psychological realism. It is perhaps unsurprising, then, that the Questors Theatre production sticks to the material’s canon quite closely. Everything from the luxe, art-deco set dressing to the strictly naturalistic direction presents exactly what you expect from a Noël Coward classic, which is not in itself a bad approach, but a safe one to be sure. Put simply, if you have seen Blithe Spirit before, there is not likely anything new for you to gain from this production.
Even if aesthetically predictable, Coward’s ‘improbable farce’ maintains its wit and charm eighty years on. The antics of a vengefully devoted ghost wife are enduringly silly fun, and Claire Durrant plays them with a perfect dash of mischief. Outfitted in delightfully ghostly attire by Nichola Thomas, complete with a healthy dose of glitter that gives her an aptly ethereal glow under the lights, she stands out with her playful delivery of such an established role.
Unfortunately, not all of the production’s comedic choices land as well. Annabelle Williams’ histrionic portrayal Madame Arcati is often too over-the-top, not quite settling into the world the rest of the cast seem to inhabit. While Madame Arcati should stand out from the rest to be sure, there is something in Williams’ approach that goes just a hair too far to suit the suspension of disbelief.
The most disappointing choice made, however, is the casting of the production’s sole actor of colour in the role of the maid, Edith, who is largely played for laughs at the expense of her hyperactive and unpolished manner. Even at a community theatre level, the optics of such a decision left me more than a little uncomfortable. Even when working on a play which is necessarily dated by its age, as Blithe Spirit is, directors and creative teams are still responsible for being aware of the contemporary contexts their choices will suggest, whether or not they intend them to. That lack of awareness in this case made it very difficult for me to enjoy the show.
Returning to what worked, Francesca McInally’s direction, even if simple, builds a tight ensemble among the company. The relationships, be they between Charles Condomine and his wives, between the Condomines and the Bradmans, or between Madame Arcati and the couples, are clear and believable, defined by small yet clever moments that move beyond the text. The supernatural world within the Condomine’s house is also well created by the complementary design of the set, lights, and sound (by Alex Market, Emma Hunt, Russell Fleet, and Maria Anna Foti Rossitto respectively), eliciting a lovely chill in a few key moments.
In the end, Questors does live up to its reputation of producing high quality community theatre with this presentation of Blithe Spirit. Despite its few missed marks, and sore need to revisit its casting practices, the professional level of production achieved by this community venue is nonetheless worthy of praise.
At Questors Theatre until 05 October 2024.
☆ ☆ ☆
