A Utah Theater Review by Jennifer Mustoe
Last night, a fellow Front Row Reviewers Utah reviewer, Larisa and I went to see Covey Center for the Art’s latest offering, Blithe Spirit, by Noel Coward, being performed in the marvelous Brinton Theater.
I love this space – it’s cozy yet elegant and I understand it’s been revamped lately. Well, it’s only gotten better.
On to the show. I regret to admit that Larisa and I arrived late. So I found firsthand our biggest issue with the show, so will state it here. The set design was unfortunate. The largest piece of furniture, a lovely pinkish period couch, much like one that was used in my recent An Ideal Husband’s set, (though Covey’s couch didn’t break – long story – I’ll blog about it someday) had its back to the entrance to the theater. Though it is remarkably gauche that a reviewer is late, and my sincere apologies to the Covey (it won’t happen again!), planning your set design is important on the off chance that a patron will be late and will need to sneak in and plop into the nearest chairs. Which Larisa and I did, and thus missed much of what happened in front of the couch. There was a table that was moved, and at one point, the maid, Edith, played winningly by Kat Webb, knelt down to clean something and she pretty much disappeared.
The rest of the set was great – a wonderful fireplace and mantel that becomes an important prop at the end of the play. (But no spoilers here!) The costumes, too, were amazing. Good job to Abby Clyde, who did double duty as the stage manager, too.
My other big issue, interestingly, was the script itself. Noel Coward has a tendency to write that his characters do a LOT of screaming, bickering, and talking. Over-talking, in my opinion. Because this is something of a mystery, I kept thinking, oh just get on with it! And, yes, I’ll say it. I didn’t like the ending. My romantic spirit hurt. But enough of that. Coward wrote this play during WW II and it may be that he was slightly morbid. However, it was well-received when it opened as a much-needed comedy during such a difficult time. It’s still pretty darn good today.
I will say without equivocation, director Eric Samuelsen did a fantastic job of bringing Blithe Spirit to life. (When you see the show, you’ll get the pun I just wrote.) I’ve seen Samuelsen’s work before with Covey’s Blind Date, also played in the Brinton Theater. This director has a brilliance in what he pulls from a cast. Each scene snapped with comedic timing, almost pitch-perfect British accents and SO MUCH PHYSICAL COMEDY, I can only imagine how tired the actors must be after a performance.
The story is that Ruth Condomine, played truly flawlessly by Alice Johnson, is married to Charles, played by Josh Brown. Ruth is Charles’ second wife. Through a series of events, first wife Elvira, played almost painfully mischievous and hilariously mean at times by Bethany Gilmour-Woodruff, comes back from the dead. Only Charles can see her, but as soon as Elvira picks up objects in the house and Ruth sees this, Charles is believed that there’s a ghost in the house. The chaos ensues, and at times, I felt really sorry for Ruth, who really was the victim in all this. Alice Johnson’s Ruth is a joy to watch, with her vocal tone rising and falling (instead of getting primarily screechy as is often the case in Coward’s plays), her facial expressions, and her not-so-playful beating up of Charles, who actually suggests that having Elvira around could be fun, is delightful.
I was in a show where Josh Brown was an understudy for one weekend (Backstage at Valley Center Playhouse), and it was good to see him in a full-blown leading role. He was very believable as a proper English gentleman, at times baffled, annoyed, upset, and delighted with having two wives in his house at the same time. I know Brown is young (because I asked him when we were in Backstage together how old he is), but you wouldn’t know that by his mannerisms, his look, or his confidence onstage.
The other cast members were equally delightful. Robyn Edwards, as Mrs. Bradman, one of the members at the séance, was hilarious. Where did you get so handy with a bottle of liquor, I’d like to know? She was coy at times, but obedient (sort of) with her husband, Dr. Bradman, played nicely by Mark Bucuanan.
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Lynne D. Bronson was hysterical as Madame Arcati. This woman schwooped and whooped all over the stage. I admit, I thought if I had auditioned for this show, this is the part I would have gotten. I scrupulously looked for things she did that I might have done better. (Do you do that, too?) Well, I couldn’t find any mistakes or characterization lapses. She was perfect.
About the word “jump” in the title: there is an abundance of knocks by ghosts. I jumped at Every. Single. Knock. Be prepared.
One other thing I’ll note. There was a beauty pageant going on in the big theater at the Covey. Every once in a while, we heard music or laughter. Because Blithe Spirit is about ghosts, this was *okay*, but it was a little distracting.
I was surprised that it wasn’t a full house and that is a shame. This is a fun show for anyone, though there are a few damns. It is rather wordy, too, as I’ve said, so I think age 10 and up would be the best audiences as it may be too slow for younger kids.
Note from the company: Every Thursday evening after the performance, there will be a talk-back session with the director, Eric Samuelsen, and our dramaturg, Shelley Graham. Come join us for great insights into the show!
Covey Center for the Arts Presents:
Blithe Spirit
October 4-6, 11-13, 18-20, 26-27
7:30 PM
Tickets $12
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