Blithe Spirit

Spirits with Liqueurs

Blithe Spirit

by Noël Coward

Putney Theatre Company at the Putney Arts Theatre until 3^rd May

Review by Polly Davies

Noël Coward’s Blithe Spirit never fails to entertain, and this sparkling production at Putney Arts Theatre does not disappoint. Tom Sainsbury’s pacey direction keeps the story lively throughout. The crew also manages to make every one of the many scene changes interesting.

I don’t know why it was decided to move the setting from the 1940s to the 1970s but I enjoyed the music and the occasional nostalgic whiff of Gauloise cigarette smoke as it drifted out to the audience. Perry Kitchen’s fusion set, with its 40s furniture and 70s touches, is the perfect backdrop to this story of a sophisticated couple whose lives are about to be upended.

The genius of the play is that the totally improbable happenings come to seem perfectly normal as the play unfolds. Happily married Charles and Ruth Condomine are planning a special dinner party. To help Charles prepare for his next novel with some background research they have invited a medium to hold a séance after dinner. Whilst waiting for their guest to arrive there is a little banter about Charles’s first wife, which brings brings just a touch of intrigue.

When their perfectly pleasant guests arrive, it is clear that they share the couple’s scepticism about the séance, but are happy to join in what is, after all, a trendy after-dinner event. Ian Wainwright’s urbane Dr Bradman, and Emily Fellows as his delightfully irritating, but not terribly bright, wife are the perfect foil to the wildly eccentric Madame Arcati, who shortly after arrives on a bicycle, keen to share her supernatural skills with the group. After dinner, Sarah Perkins comes into her own as Madame Arcati, demonstrating all her mystic wonders, throwing herself about the stage in various phases towards a serious knock-out trance, with wispy waving of her hands above the poor souls who are in need of spiritual support … … and eventually conjuring up the ghost of Charles’ dead wife Elvira.

Charles is horrified, especially when it becomes clear that he is the only one who can see and hear her. Daniel Jonusas doesn’t overplay this; Charles is after all the essence of sophistication, but gradually his character becomes progressively confused, angry, and pleased when confronted with a woman he had loved and lost to death. Over time he visibly softens when responding to Elvira’s coquettish nature. This marriage had clearly been a happy one.

Kirsten Millar’s Ruth also changes when confronted with this unnatural rival. Initially the ultra grown-up, proudly declaring that second marriages aren’t expected to be “love’s young dream,” she is thrown off course by this apparition that she cannot see. First confused, then hurt, then angry as it becomes clear that her husband is quite enjoying having his ghostly but vivacious first wife around. And why wouldn’t he; Katie Kelly’s elvish Elvira is a dream. Death and some ghoulish make up has, if anything, enhanced her charm. Young and flirty, she floats about the stage causing mischief wherever she lands. And this is not good news for Mrs C.

There is no option. Madame Arcati needs to be recalled. After an initial unfortunate attempt, an unlikely naughty spirit is found to inhabit Nicole Pavlou’s energetic but subservient servant, Edith. And Madame Arcati is at last back in charge of these troublesome spirits. Her excitement at seeing the spirits she has raised gives Sarah even more opportunity to make this eccentric character real, and it is hard not to share the medium’s childish delight at pulling off such a stunt as she tried to connect to the “girls” she shares a room with but cannot see.

A spectacular finish is needed and we get one. Well done to the engineers on the set team. I’m not certain about this but it seemed to me that the only 1970s props left standing were the William Morris cushions and the lava lamp. A thoroughly enjoyable production.

Polly Davies, April 2025

Photography by Steve Lippett