Cassie Greer, Andrew Beck, and Jessi Walters Photo by Casey Campbell Photography |
By Tina Arth
Bag&Baggage’s 2018-2019 season officially focuses on
love, “LOVE. THRILLS. MAGIC. WONDER. CHANGE.”
At The Vault, the Hillsboro theater company’s final production of the
current season jumps the gun with Noel Coward’s Blithe Spirit, show that’s just
loaded with thrills, magic, wonder, and change (if, courtesy of Coward’s jaundiced
view of life, somewhat bereft in the “love” department). Director Scott Palmer is no stranger to
Coward’s style of cheerful cynicism, and is thus perfectly suited to shepherd
his cast and crew through a fast-paced telling of this supernatural farce that
has been raising spirits (literally and figuratively) on stages around the
world ever since its debut in war-torn London during the darkest days of World
War II.
In the Bag&Baggage production, the story has been moved
to the 1980s. Like the playwright who created him, novelist Charles Condomine
is skeptical about psychic phenomena; to learn more about the language and tricks
of the trade for his next book, he invites local medium Madame Arkati to give a
séance to entertain himself, his wife Ruth, and two friends. Much to the surprise of all, there are
definite supernatural manifestations, and Charles is visited by the ghost of
his first wife, Elvira. No one else can see Elvira, and the next morning Ruth
writes the whole episode off to Charles’s inebriation until Elvira proves her
presence by moving a bowl of flowers around the room. Eager to be rid of her
deceased rival, Ruth asks Madame Arkati to get rid Elvira, but the medium is
unable to dematerialize the spirit. The story only gets more arcane (and funny)
through succeeding acts (there are three, but packed into a relatively short 2½
hours).
Arianne Jacques gets the first laughs as the Condomine’s new
maid, Edith, frantically hopping up and down the stairs trying to please her
new mistress. She lurks, wide-eyed, as events unfold around her, and sometimes
leaves the room only in response to meaningful glares from her employers. Ruth
(Cassie Greer) is utterly oblivious to Edith’s confusion, and her complete
self-absorption tells us all we need to know about the brittle lady of the
house. Greer’s Ruth is coldly, archly uptight, and the performance radiates
suppressed rage that explodes nicely when she has finally had enough. Jessi
Walters’ Elvira provides a delicious contrast – she may be a ghost, but she’s
so flamboyant and mischievous that she actually seems much more colorful and
vibrant than the still-living Ruth.
Andrew Beck’s portrayal of Charles Condomine is delightfully
effete – stuck between two wives and
passionate about neither. He is bright and witty, but ultimately clueless about
how to extricate himself from the drama of married life. When Ruth asks him if
he found Elvira more attractive, his perfect, languidly delivered retort? “That’s
a very tiresome question, darling. It fully deserves a wrong answer.” Kymberli
Colbourne’s Madame Arkati is a stunning reinvention of the character. Instead
of a ditzy, fluttering British psychic in brightly flowing clothes, she’s a
hilariously energetic, somewhat androgynous American with definite overtones of
Foghorn Leghorn, bringing unexpected ferocity and physicality to the role.
Melissa Heller’s costumes are perfect – from Colbourne’s
quasi-menswear to the flashing lights on Walters’ gaudy gown - and Tyler
Buswell’s scenic design creates a nicely 1980s version of an upper-class
British drawng room. However, it’s Jim Rick-White’s lighting and technical
effects that move the show from well acted and funny to mind-bending. The show
is propelled by a combination of mechanical and electronic effects that capture
the real magic of Blithe Spirit,
constantly surprising the audience with The Vault’s capabilities in the right
hands.
Blithe Spirit tickets
will sell out quickly, so fans of Coward’s beautifully crafted, witty farce and
Scott Palmer’s theatrical ingenuity should buy tickets soon.
Bag&Baggage’s Blithe
Spirit is playing at The Vault, 350 E. Main Street, Hillsboro, through May
27th, with 7:30 p.m. performances Thursday, Friday, and Saturday and 2:00 p.m.
Sunday matinees.
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