Blithe Spirit (Canberra REP) - Review

 "Well, why shouldn't I have fun?"

Pictured, from left to right: Ruth (Alex McPherson), Charles (Peter Holland) and Elvira (Winsome Ogilvie) in Canberra REP's Blithe Spirit. Photo by Eve Murray.

Blithe Spirit is a classic farce of recent interest to me, and Canberra REP's production is one I've been looking forward to for the last few months. The show in concept alone is brilliant in just how marvellously everything in it is capable of unravelling, to much of the delight of any audience subject to the chaos: a middle-aged author invites a medium into his home to inform a stereotype in his latest work, and accidentally summons a previous lover from the spectral plain, who wishes to settle some unfinished business. This show is a complete and utter all-timer, and it's not very difficult to see why. Its characters are memorable in their eccentricities, Coward's humour is memorably droll and fun, and the premise lends itself to the creativity of those who choose to produce it; it is a well-stocked toy box for a director to dive into and make their own. Canberra REP's production capitalises on this well-suitedness, taking the ball and running the distance as much as it can. 

Director Lachlan Houen infuses the classical comedic identity of Coward's play with a suitable taste of camp and a modern revamp, both adding spice to Coward's already potent charm, while also acknowledging its timelessness; Coward's work, even in a modernised setting, still lands. It also speaks to an enthusiasm to embrace and explore the show's questions of the timelessness of death, these elements emphasised by the blend of classical and modern in such a manner where things are different, but not too different. Despite the supernatural elements of the plot, the play consists of a lot of standing around and talking, yet Houen's actors are snappily directed to keep the play moving along at a brisk pace, while also providing brilliant blocking that leaves no corner of the stage bare.

Houen has cast an outstanding ensemble in this production, who each get to thrive in their roles. Peter Holland is fantastic in the role of Charles, who is astutely jagged in his wit and up himself egotistically in moments of sanity, and pathetically wobbly as he navigates the newly tangible reality of the ethereal. Holland's comedic timing in particular is fantastic, with every word out of Charles' mouth uttered with the perfect amount of sardonic emotion and quick-witted charm. Alex McPherson's Ruth is hilariously domineering as she tries to claw back control of the show from this gradual unravelling, and brilliantly overdramatic when she completely loses the reigns. Winsome Ogilive's performance as Elvira is suitably camp and mischievous in equal measure, shifting the tone of the show the second she enters the stage with her siren-like alluring of Charles and pestering of Ruth. Her later histrionics with Charles maintain her fabulously entertaining presence, ensuring she never stops summoning plenty of cackles from the audience for the duration of her stay.

Elaine Noon's Madame Arcati is dead on-point in her eccentricities, contrasting brilliantly against the rest of the high-class ninnies she is constantly surrounded by. Not only does Noon provide an energetic performance, but on the subtler side, she carries herself with an air of honesty that allows her character a great deal of likability, ensuring her long-winded ramblings of her exploits within the psychic realm are not only fascinating to the other characters, but to the audience as well. John Stead's Doctor Bradman is positively flappable and humorously loud in his scepticism of the archaic, and is paired well with Antonia Kitzel's Mrs Bradman, who is herself a thief of laughs in an overly enthusiastic, yet sincere portrayal as a chatterbox who consistently says the wrong thing at every conceivable time. The role of Edith is expanded upon by Houen through numerous subtle moments of silent vignette, where Liv Boddington's remarkable stage presence shines brighter and brighter in their wonderfully complimentary performance as Edith. Their lines are few, yet the laughs they capture are many, providing arguably the best physical comedy in the show. 

The beautiful set by Andrew Kay and Michael Sparks continues the trend of REP plays having remarkably comfy interiors, with cleverly interactive lighting and entrances that lend themselves to the supernatural fun. Leann Galloway's lighting design is excellent at shifting the tone of certain scenes, as can be seen in the case of Elvira's ghostly entrance, while also collaborating with the aforementioned interactive elements of the set, resulting in some truly magical moments of spectral mischief. Marlēné Claudine Radice's sound design is brilliant in emphasising the show's choice tone, blending classical sounds with the updated soundtrack. At moments, the structuring of soundtrack in relation to the script seemed a little bit off, with certain tracks feeling more like intrusions than purposeful inclusions, but it was only momentarily distracting. Suzan Cooper's wonderful costumes blended old and new high-class casual brilliantly, with Arcati's work attire and Charles's purposefully uninspired Sunday best being notable standouts. And finally, Gail Cantle's keen eye for properties resulted in a props table that was both appropriate in suiting the show's chosen period, and remarkably destructible and durable in equal measure when called for, serving as a cherry on top of the wonderful work by the creative team on this show. 

Canberra REP's Blithe Spirit is a camp, fun, fresh take on all-timer, providing us a classic work in updated fashion. Sure, it had a few technical difficulties, and sure, maybe the music clashes with the more classical vibe the play was initially written for. But in a day and age where comedic theatre takes itself far too seriously, it was good to see a production of Blithe Spirit where not just the actors, but EVERYONE involved was having a blast in their respective elements. I may disagree with some of its choices, but my job (bold to be calling this a job, I know) is not to write about what this production COULD have been, but what it WAS and IS. And what it is, is an interpretation that still retains its author’s tone, while doing what all newer productions of classic comedies should; having its own, personal fun with it, and dragging the audience, whether they like it or not, along for the ride. Heartily recommend this one. After all, comedy is subjective; why shouldn't you see if you can have a little fun?

Tickets: https://canberrarep.org.au/content/blithe-spirit