It is no mean feat to take a play like "Blithe Spirit," that's been around since 1941 and has been done and redone--on the New York stage, in London, in community theatres and dinner theatres in far flung hamlets, on television- -until there must scarcely be a theatre goer who has not encountered it somewhere. This writer has seen it so many times, she can almost recite the lines.
Yet here it is again, at Arena Stage' Kreeger through June 9, as fresh and engaging as it ever was, with the marvelous wit of playwright Noel Coward, and the purest, most poetic of language. For those who are lovers of language and enjoy English when deftly uttered in its sheerest and most perfect form, this play is a paeon of praise to the playwright who marshalls words as if going into battle.
With consummate skill, Director Kyle Donnelly and Arena's technical crew have put together a seamless production, one that knits each element into an elegantly unique whole. As a result, they have achieved an uncommonly entertaining bit of fiction, with every element working so superbly well with every other, that it is almost an ancient dance of symmetry and motion.
It's a simple story. Ruth and Charles Condomine (Pamela Nyberg, Terrence Caza) are entertaining Dr. and Mrs. Bradman (Henry Strozier, Nancy Robinette) at dinner at their house in Kent, and have invited Madame Arcati (Tana Hicken) to hold a seance. During the seance, Madame Arcati inadvertently summons the ghost of Charles' first wife, Elvira (Ellen Karas), who turns out to be a lustrously sensuous and beautiful woman bent on mischief. Ruth Condomine is not amused, and in fact is furious. She demands that Madame Arcati get rid of the capricious ghost, but Madame Arcati has no idea how she got Elvira there in the first place. When Elvira tampers with Charles' car, which Ruth drives, Charles ends up with two ghostly shrews.
The play is so full of delicious humor, such great lines, such devilishly funny bits of business, you will laugh your head off. Take Edith, the maid. She's funnier than Gooch in "Mame," and, in fact, is probably the funniest maid I can remember. Charles tells her to stop running; so she does, but places one foot carefully in front of the other; and that's always good for a laugh. There are many delicious bits of business. The laughs keep coming.
Tana Hicken as Madame Arcati is as eccentric an old gal as you can imagine, half Girl Guide leader, half kook. Arriving on her bicycle with a helmet on her head, she's laden with appurtenances to enhance her supernatural powers, stomps around the Condomine living room like a Brit on safari.
Terrence Caza reminds one sharply of Noel Coward, is suave, elegant, handsome, and delivers his speeches as precisely as if he's addressing Parliament. Pamela Nyberg is so beautiful and elegant, it's hard to keep your eyes off her; plays the role with a glittery hauteur. Ellen Karas is so striking and sexy, she fairly sizzles, and the costumes that Paul Tazewell has managed for her fairly set fire to the stage. In fact, all of the costumes are superb; when Elvira trails her scarlet gowns around, it is a shock to the eye. The brilliant red of her gown cuts a swath through the pale gray set, and other touches of red on the set provide the jarring notes that let one know there are troubled elements present-- the blood red roses on the console; the red jacketed book lurking under the coffee table. And Ruth in ice blue is almost a shock to the eye. In another scene, she wears a gray skirt with taupe shirt that's the very height of elegance. The one oozes sex while the other exudes frigid good taste.
And then there's the rest of it. If ever a set were more enticing, I'd like to see it. Done in shades of gray, everything is atilt, telling you immediately that there are strange things happening.
Shades of gray turn pale blue, rose, and other colors with the skillful lighting of Michael Philippi. The furnishings are elegance themselves, these done by Thomas Lynch. The music that accompanies many of the scenes evokes images and memories, and are so coordinated with the action, it all just flows together.
Nothing is spared, from a silver tea set, to a drinks table, to real coffee in a silver coffee pot, to martinis, brandy, the lot.
Movement was also important to this production. Elvira striding in circles through the room, keening in her strident voice, kept the feeling of evil spirits lurking very much evident. And then, there are the effects, all of which startle and shock. Having told you this much, I won't tell you the end. It, in effect, "blew me away." The play was a masterpiece of technical precision. What an incredible crew Arena has! Consider this a great evening of entertainment.
If you're interested in going, make a reservation by calling 202-488-3300; they'll take credit cards. HOTTIX provides seats at half price 90 minutes before curtain time. It starts at 7:30 on Tuesday, Wednesday and Sundays; 8:00 p.m. Thursday, Friday and Saturday; there are also matinees. Call for information.