When Noël Coward wrote Blithe Spirit in 1941, World War II was in full swing. Coward helped Britain’s cause by working in intelligence, but Churchill reportedly told him to use his talents to lift spirits. In May of 1941, Nazi air raids completely destroyed Coward’s London office and apartment. Already a successful writer/actor/musician, he was able to retreat to the Welsh coast and wrote Blithe Spirit in only six days. To some critics at the time, the show was in poor taste, making light of death and the afterlife during wartime. But the British audiences disagreed, appreciating the escapism of a play set in the pre-war 1930s, when social decorum was still being upheld, and bombs weren’t constantly falling from the skies. The play became a record-breaking hit on the West End, running for 1,997 performances; audiences found that laughing at a ghost was a therapeutic type of resistance against the harsh reality of war.
Blithe Spirit remains a part of the classic theatrical canon for good reason. We first meet the well-to-do married couple, Charles and Ruth Condomine, wittily bickering in an attempt to prove their love for each other. Eventually, the bickering intensifies as they attempt to overcome the meddling of a ghost — and not just any ghost, but Charles’ first wife, Elvira — who’s been summoned accidentally during a séance that was secretly meant to be research for Charles’ next book. The hijinks that ensue are full of classic physical comedy wound tightly with the acerbic banter and wit that playwright Noël Coward was known for. The production of Blithe Spirit currently playing at The Little Theatre of Alexandria handles the hijinks with professional dexterity, keeping the audience spellbound throughout.
As you enter the theater, the luxury of the Condomine home is the first thing you see. Set designer Julie Fischer’s well-planned use of the stage spaces allows the audience to follow the action wherever it is taking place, and Siobhan Fisher’s set dressing adds enormously to the upscale feel, with dark mahogany wood elements, lush draperies, and period furniture. Prop designer Emilie Pade’s handiwork kept the cast drowning in martinis and fresh flowers. Ken and Patti Crowley’slighting design underscores the opulence, with elegant downlighting creating multiple special effects throughout the show. The most subtle (but perhaps my favorite) lighting effect was that of the rain sheeting down the balcony’s French doors, adding much to that scene’s moodiness.
The appearance of the clumsy maid, Edith, played with plucky aplomb by Caroline J. Berger, begins the show on a comedic note. When Ruth Condomine (Sarah Cusenza) enters, the energy intensifies. Cusenza’s command of the stage and her character’s responses to each rising situation create a firm backbone that helps bolster the other characters throughout, making it all the more amusing when Ruth spirals emotionally later in the play. Charles Condomine, her husband, played most charmingly by Eric Kennedy, is quite a foil to Ruth’s practicality. He seems a bit self-centered, but somehow adorably so, yet his willingness to use the town’s local celebrity spiritualist for his own gain should clue us in as to how deep his sense of entitlement runs. The fact that Charles remains likable throughout most of the show signifies that Kennedy has a clear mastery over this character’s nuances, as well as the larger comedic moments.
The arrival of the other couple who will be present at the séance brings even more energy to the room. The delightfully dizzy Mrs. Violet Bradman (Raeanna Nicole Larson) has a bubbly energy, and her facial expressions add to our anticipation of what’s to unfold. Her husband, Dr. George Bradman (played by Larson’s real-life husband Cameron McBride),provides yet another counterpoint to the already packed-with-personality drawing room. McBride’s dry and pompous delivery provides a wry balance that is needed among the characters assembled there.
When Madame Arcati finally enters to begin the séance, Eleanor Tapscott absolutelycommands the stage. Her larger-than-life presence completes our party; her vibrant clothes, jewelry, and humorous gestures and reactions all combine to create the consummate vision of a possible con artist. This character is often the one most loved by audiences for her flamboyant confidence, a role famously played by Angela Lansbury in the 2009 Broadway revival of Blithe Spirit, for which Lansbury won the Tony.
But perhaps no one on the stage has more confidence than otherworldly Elvira, brought back to life by the skills of Katie Weigl. In turn bewildered, petulant, and coy, Weigl embraces Elvira’s appeal and her annoyances, creating a truly interesting character. Draped in a gorgeous flowing nightgown and robe made of gray satin, and covered in makeup also in shades of gray, she makes quite a lovely and lively ghost.
The costume design (Jean Schlichting, Kit Sibley) and hair/makeup design (Maureen Roult) are truly spectacular. The ghostly makeup and costumes made it seem like they were in black and white while the rest of the room was in color, which felt like a cool parlor trick. The costumes of the living were sumptuous and enhanced our understanding of each character.
While I highly recommend the play, be advised that although director Ward Kay’s pacing is delightfully brisk, the show runs three full hours — which includes a 15-minute intermission. The scene changes were done in complete silence, which makes them seem longer than they probably actually are. Some music to overlay those moments could help give us somewhere else to place our focus. Also, the theater was absolutely freezing, and I don’t mean an otherworldly chill of the spirits. After intermission, I noticed multiple people returning with coats or wraps (one young woman in front of us was wearing a puffer coat, which was surprisingly not unwarranted).
Although the play has been in theaters since 1941, you may not have discovered it yet. Coward’s exploration/satirization of the bindings of traditional marriage, his interest in exploring the gossamer string that connects our present to the afterlife, and his fierce command of language and wit make this play a classic. Finding joy and hilarity during a time of uncertainty and unrest is not a new concept to theatergoers. What worked during World War II to alleviate fears about death and uncertainty still works today. If you need a respite from your cares and concerns, the Little Theatre of Alexandria’s production of Blithe Spirit is full of flamboyant life that is sure to lift your spirits.
Running Time: Two hours and 30 minutes, with one intermission.
Blithe Spirit plays through September 19, 2026, presented by Little Theatre of Alexandria, performing at 600 Wolfe Street, Alexandria, VA. Patrons may purchase tickets ($30) online in advance or through the box office at (703) 683-0496 or by email at BoxOffice@thelittletheatre.com.
The program for Blithe Spirit is online here.
Producer: Meredith J. Ludwig
Technical Director: Monique Mormon
Stage Managers: Maureen Dawson, Jennifer Rhorer
Sound Design: David Correira
