Blithe spirit dating

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Arcati's imperishably associated, of course, with Margaret Rutherford in the film, arriving on her psychical bicycle in a flurry of vague, jowl-shaking eccentricity.

"I actually rather enjoy that, because I can just "shoo them away" by telling them to go play with the other kids, because the grown people have things to do that children shouldn't see or hear....

I have brought more than one young whippersnapper to tears with that very kind/cutting remark....

Alison Steadman presents a totally different version, a comical bulldozer with cat-like sniffles and sudden jumps, barking yelps, and a habit of waving at people in a room as if they were at the other end of the garden.

She's blithely ignorant of her own absurdity, too, not only in getting the procedure hopelessly wrong – that is, right – so that Ruthie Henshall as Condomine's ex-wife materialises like Banquo's ghost, visible only to the guilty Charles; but also in giving emphatic weight to half-understood foreign phrases such as noblesse oblige, quien sabe and, best of all, when recalling the good old days when a spot of holy water could dispel any poltergeist, Ou sont les neiges d'antan?

After her revelatory revival of Terence Rattigan's "lost" inter-war play After the Dance at the National last year, director Thea Sharrock takes a good hard look at Noël Coward's 1941 ghoulish comedy, often interpreted as a diverting consolation for those who had lost loved ones in action.

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