"Blithe Spirit" is what is known as a warhorse - a comedy that has a broad popular appeal that attracts an audience and can reliably be seen as an appealing night out. I've reviewed it twice in the last decade-and-a-bit - once at Rep in 2014 and once by the Sydney Theatre Company in 2022. Coward's comedy about love-after-death-turning-into-the-same-petty-squabbles-after-death, with its rich range of characters and a plot that twists and turns thoroughly delightfully, holds up as a good night's entertainment.
In Lachlan Houen's production, it's also served by a strong cast of imposing personalities and some directorial ideas that make sure a 1940s comedy feels entirely at home here-and-now - from building focus on the maid Edith (playd by Liv Boddington with an enthusiastic glee and energy), to introducing more contemporary music into the mix. Two of the cast are back from Rep's 2014 go, but Elaine Noon has upgraded from the small role of Mrs Bradman to the substantial one of the medium-with-the-most, Madame Arcarti - she takes full advantage of Suzan Cooper's spectacularly eccentric costume to wheel around the stage delivering stenorian chants, gesticulate mysteriously, and otherwise natter endearingly as a thouroughly delightful eccentric. Peter Holland has returned to the central male role of Charles, but it feels like he's given the role a bit more manic energy and genuine emotional warmth between him and his ghostly ex-wife Elvira in between the more bitter banter. Winsome Ogilvie as Elvira has a sly glamour and charm with a wicked edge underneath that makes sure we're always guessing what her true motives are. Alex McPherson as second-wife-Ruth embodies the rising frustration as her husband's focus is split between her and a rival she can't see or hear. John Stead gives Dr Bradman a nice level of compassion and warmth, and Antonia Kitzel's Mrs Bradman enjoys her gossipy socialising while dropping huge chunks of exposition.
Andrew Kay and Michael Sparks' set is highlghted by an art deco curve in the centre and creates a good set of spaces for the actors to play in, and Leanne Galloway's lighting moves from charming post-dinner conversation to spooky seance iwth aplomb and Marlene Claudine Radice's sound design makes sure all the spooky noises are suitably spooky.
In short this is a war horse that engages in battle and rides well - showing off a few new tricks into the bargain. Funny, stylish and enjoyable.
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