Review: BLITHE SPIRIT, Salisbury Playhouse

Pamela Raith

Although Coward revivals have been a little thin on the ground for the last few years, Blithe Spirit is more frequently seen than most. Just opened at Salisbury Playhouse is a new co-production (with Blackpool Grand) of a play seen at this theatre several times before, as the programme confirms. Looking around the audience at press night it seems unlikely that anyone there would have seen Salisbury favourite Nancie Herrod play Ruth in 1959 at the old Playhouse, but quite a few might have seen her as Madame Arcati in 1978 in the current building. 

Memories of that old theatre flooded back when the curtain was raised to reveal a magnificent set, prompting the traditional but now seldom heard round of applause. It’s always good to see a creative given credit, and in this case it was that designer supreme, Terry Parsons who was responsible for set and costumes. Both were superb, and the final moments of the play were, as ever, a tribute to designer stagecraft – and probably the best version of this sequence ever seen by this reviewer. Parsons is particularly good at providing elegant and authentic gowns for the female members of the cast, and it was fascinating to read in the programme that his sources were in printed reference books rather than online.

The rather low-key production that finds its home on this magnificent set was a little disappointing. The main quartet seemed to have found an appropriately Cowardesque tone, with Jenny Rainsford as a believable Ruth, every word clear, opposite Adam Jackson-Smith as a dressing-gowned Charles Condomine who didn’t seem anywhere near unpleasant enough to receive his just desserts from his two wives. He needs to be thoroughly despicable or the play becomes rather vindictive and ill-natured. In the fairly thankless parts of the Bradmans, Michael Cusick and Fiona Tong were entirely convincing. 

The ethereal Elvira, an appropriate vision in her white bejewelled gown, made most of her entrances through the French windows rather than the wall, but had a nice line in sardonic asides. As Madame Arcati, Susan Wooldridge gave a thoughtful, detailed but rather homely portrayal. If we are to believe, as we must, that she really does have supernatural powers, she needs to appear to have floated in from another realm. Not always totally audible, this was a performance strong in subtlety but perhaps lacking in the necessary exuberance and sense of risk.

As one of Coward’s many house servant roles that offer a good actor many opportunities, Gabriella Foley was a hoot as Edith. She stole the show with her literal responses to orders and her hesitant carriage of yet another tray of glass or crockery. A broad performance perhaps but a very funny one and a wholehearted stage performance at that. 

Understandably, this once three-act play was given with one interval, after the second act. Less understandably, and rather annoyingly, we were not given the necessary indications of when the action between scenes was not continuous. There is a gap of several days between Act II Scenes 2 and 3, and before the beginning of Act 3. The lack of any information to this effect led to confusion at least to some theatregoers new to the piece. We need to remember that not all audiences will be as familiar with the play as are cast and creatives.

Definitely worth seeing, however, as an example of the lasting achievement of Coward, and as a respectful and thoughtful account of a well-written play: the set alone is worth the price of your ticket. 

*** Three Stars

Reviewed by Chris Abbott

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