“Blithe Spirit"

Press, Volume CXIII, Issue 33370, 31 October 1973, Page 18

“Blithe Spirit"

“Blithe Spirit,” by Noel Coward. Directed by Neta Neale for The Court Theatre, Worcester Street. October 30 to November 17. Running time: 8 p.m. to 10.40 p.m. “Hail to thee, Blithe Spirit, ectoplasmic manifestation thou ever wert . . .” One never really gets much idea I of the nature of the ectoplasm that the old sorceress in “glithe Spirit” continually threatens to evoke, but it seems a fair description of what struck the audience last evening—continuous laughter through most episodes, applause after every scene, and altogether one of the best atmospheres I can remember at a Court opening night. The impact of the first scene has been expertly gauged by Neta Neale, and each character is given the (right latitude to establish (himself before the entrance of (the old woman who is going to go through her spiritualist [paces mainly for the benefit [of the master of the house, (who wants to fit it into his (new book. Of course, it all goes wrong: the ghost of his (former wife actually appears, and before the play isthrough she is joined in the spirit

world by his second wife. “Improbable farce” Coward may have called it, but there is obvious justice in it ail—and not just in the fact that the underworld allows the former wife (Judie Douglass) a much more generous neckline than her successor.

Cynthia Ward gives a really splendid performance as Madame Arcati, an old magic hag with an inscrutable sphinxish smile; her every scene is good, but towards the end when she is throwing up gauntlets, sponges, and ectoplasms in all directions she is somewhat limited, because the last scene change cannot be done on enough scale in intimate theatre. Ingrid Prossor plays the current wife delightfully, with an excellent sense of dialogue and good mannered movement. Completing the trio of uncool females, Christine Perry does the hilarious part of the maid very well indeed, and gets full value out of every laugh going. Ann Simpson’s giggles contribute much to the mood, too —she plays the wife of the doctor (Brian Sullivan). Richard Corballis, in the male lead, has the hardest! part. As the link in much of the dialogue, he has to carry the most dated aspect of the play. In fact, he manages surprisingly well: visually, he is excellent, he keeps his scenes I within the right perspective, and most of the dialogue he contributes to is lively and. witty. Neta Neale seems to have! concentrated most of her) ingenuity on the crucial! scenes, and has made a resounding success of them,, considering that they are, really proscenium material. I The weaker areas—some indifferent grouping, and furniture that sadly fails to match the excellence of the set—are scarcely noticeable in an ectoplasmic orgy of well-controlled farce. Or, as someone else put it, “profuse strains of highly premeditated) art.” —H.D.McN. I