Blithe Spirit

21/22 May 2010

Venue: The Old Bakery, Stonesfield

Cast

Charles Condomine: Tim Osman

Ruth Condomine: Laura Lonsdale

Elvira: Beth Binnion

Madame Arcati: Griselda Sherlaw-Johnson

Edith: Lucy Martin

George Bradman: David Stevenson

Vincent Bradman: Mark Saville

Director: Becki Sherlaw-Johnson

Lighting: Chris Bartle

Prompt: Pat Ibbotson

Stage Manager: Caroline Crookes

Costumes: Ros Mengech

Makeup: Caroline Hubbert, Mel Higgins

FOH: Brigitte Rak, Helen Cannons

Review

It is quite something for the Players to have discovered a new venue after decades of performing in the village, and everyone who came to Blithe Spirit will have enjoyed the novelty of the setting as much as the timeless humour of this Noel Coward classic. Ros’s house was perfect.

Being already in a drawing room with the characters was brilliant. Becki’s imaginative direction made full use of the three exits and entrances available, so when Madame Arcati came in with her bicycle from the garden, or the maid came in with her tray from the kitchen, or Mrs Condomine came down from the bedroom, their world appeared entirely credible. Very clever, to get such interest into such a small space, and to create a real illusion of grandeur.

They were two stunningly beautiful evenings at the end of May, and great praise has to go to Chris for the lighting. He somehow funnelled golden evening sunlight through the French windows for a good hour after the sun had set, proving once more that he can create any world, and any atmosphere, we need, under any circumstances.

The costumes were superb. Hats to die for, frocks to live it up in, and terrifically period hair-dos. Well done Ros and Chrissie: a triumph of period detail, borne out by the wonderful make-up (Mel and Caroline) which surely had benefitted from a course on technique: we had classic beauty and the Adams Family on stage at the same time – brilliant.

It was a brave decision, to stage a performance with the actors still on-script. Anyone who acts knows full well that the script is a darned nuisance and one just longs to be rid of it. Having it is a tempting security blanket, but it is also a shackle. Having said that, moving away from a huge performance in the village hall, with all the intimidating barriers of the proscenium arch, into the intimacy of Ros’s sitting room, was a stroke of genius and suited the play really well. And all the actors showed huge courage, acting so close to their audience. Madame Arcati was fabulously eccentric, flamboyant and fay. She believed very strongly in herself and was therefore entirely credible to us: Griselda did her the honour of not sending her up, which was highly professional. Beth provided a lovely contrast in Elvira, playing her with a really wicked streak and tongue firmly in cheek; you really felt she was determined to wield her sexual power from beyond the grave and by golly, she succeeded. Mr and Mrs Condomine were quintessentially Noel Coward. They grounded the play so firmly in the 1930s, with their dry martinis and their mannered voices. Laura was wonderfully languid and coolly beautiful, but also very expressive; Tim splendidly flustered. As for the gay doctor and his wife, I just hope David and Mark have had time to de-brief their wives on what was an unnervingly convincing performance.

A last word for the maid, whose earnest seriousness anchored the whole production in the realms of a thoroughly enjoyable Sunday evening serial: Cranford, eat your heart out – well done Lucy.

Becki brought all her customary hard work to this production, and it showed. The characters were well-rounded, they moved with great stage presence (which can’t have been easy in that tiny space), and they knew exactly where the humour lay, all of which reflected Becki’s direction. A big thank you to her, and to Ros, for putting on a truly delightful and very different production. Oh – and how lovely that Pat is now proved to be undeniably indispensable to any and every production we have ever done and will ever do; I think she’d be our prompt even if we went into ballet.

Caroline Friend

Photos from dress rehearsal