Denys Edward Players’ Blithe Spirit – 27 May 2026, Dronfield Civic Hall
Review by Nicola Bourne.
Having seen, over the years, various incarnations (pardon the pun) of this Noel Coward classic, I was aware of the wacky storyline, but more than happy to watch a new production unfold on stage last night, at Dronfield Civic Hall. Often considered one of Coward’s funniest plays, Blithe Spirit has remained a mainstay of comedy theatre and film, since its Broadway premiere in 1941. With previous big-name actresses like Angela Lansbury and Judi Dench, it is, indeed, a testament to the fondness felt for this timeless show. It doesn’t matter that it was written in the 40s; Denys Edwards Players show how it can still appeal to a modern audience, with its abundance of wit and farce never going out of fashion.
Set in the upper-class household of Charles Condomine and his second wife, Ruth, the play recounts the chaotic events that follow a séance, conducted by Madame Arcati, for the couple and their dinner party guests, George and Violet Bradman. Inadvertently summoned back in spirit form, Charles’ first, mischievous wife, Elvira, attempts to disrupt his current marriage and enjoys the havoc, that her arrival causes between them. In a highly unlikely scenario, Charles is allowed to spend time with Elvira’s ghost, while Ruth’s no-nonsense approach to their marriage, finds her seeking a practical solution to the problem! No spoilers here, for the outcome, but watching this production offers a silly, enjoyable way to spend an evening, for sure!
Opening the show with old-time wireless music, the audience is immediately taken back in time and the set is revealed; a plush, well decorated drawing room, in which the entire play takes place. The design team clearly take advantage of this being a permanent fixture and go all out on its appearance. With adornments, dado rails, luxurious looking wallpaper and leather seating, the attention to detail is superb. A colourful room anyway, Mark Boyles’ and Jack Hallam’s lighting enhances the scene and creates an atmospheric setting for the evening’s séance.
The wardrobe department (Kath Kenyon and Sue Cox) must have had so much fun creating the costumes for this era and for the upper-class habit of dressing for dinner! Suits, complete with pocket squares, showy evening dresses for the ladies and the maid’s outfit all add to the characters’ personas and class. Elvira’s sky blue, floaty dress gives otherworldly, angelic vibes and, of course, Madame Arcati’s flamboyant style, so often associated with eccentric mediums, doesn’t disappoint. Her extravagant headdresses, feathers, tassels and cape all give her the perfect profile for her theatrical gesturing and movements. With that in mind, Joanne Ringrose’s portrayal is the perfect mix of mad and flighty, and I loved her quirky “dancing” as she prepares herself for the coming séance. Her stage presence is really good.
Director, Mark Harris, encourages great performances from each one of the small cast and stages a production that is largely in keeping with the original stage version, which does differ slightly from the film versions. Elvira (Kate Spivey) is the very essence of a “blithe spirit”, carefree and nonchalant, footloose and cavalier. Her acting ability is great and her voice, which is suitably petulant in this role, projects well; a perfect choice for the role. Angela Blackwell’s Ruth, meanwhile, is uptight and pragmatic and convinces no one, when asserting her indifference to her husband’s prior relationship. She plays her haughty character well, against cantankerous husband Charles, played by Andrew Hibbert. Both characters keep the momentum going, having the lion’s share of dialogue, and both portray their emotionally stunted characters competently.
Last, but not least, Joe Otten, Corrie Houton and Sue McCormick complete the cast as Dr Bradman, his wife, Violet and Edith, the maid, respectively. All cast members maintain upper class accents throughout, except, of course, for Edith, whose humility and subservience are endearing. Sue has great comedic timing and has some of the funniest lines. Joe’s cynicism and superiority and Corrie’s excitability are well performed and again, Corrie’s voice projects particularly well.
This supernatural comedy is an easy way to introduce some of the older classics to a younger audience. With convincing paranormal activity, it does make you think about the technical work behind the scenes, which can often be forgotten. With some good laughs along the way, this is a well performed production from Denys Edwards Players, in a venue where all seating offers a great view of the stage!
