Coward classic lives once more

TRANSFORMING a classic piece of theatre into a contemporary on-screen adaptation without losing the charm that made it so unique will always be an undertaking. Dappled with sentiments from a bygone era, it’s precisely the situation in which Noel Coward’s classic comedy Blithe Spirit finds itself.

Directed by Edward Hall, whose previous credits include hit ITV series Downton Abbey and acclaimed BBC drama Spooks, the script centres on wildly successful yet assuredly unhinged crime novelist Charles Condomine, played by fellow Downton Abbey alumnus Dan Stevens.

Set in 1937, the light-hearted tale unravels within the Art Deco confines of the writer’s sprawling Surrey home which he shares with current wife Ruth, played by Scots-Australian star Isla Fisher.

Edging towards insanity, a tweed-clad Charles desperately searches for the inspiration that has been absent since the passing of his first wife, Elvira, played by Knocked Up’s Leslie Mann.

That is until an enthralling evening at the theatre captures Charles’ imagination, resulting in the show’s star – a famous medium named Madame Arcati, brought to life by Dame Judi Dench – travelling to conduct a private seance in their home.

“I think it’s interesting to remember that this play was written in 1941, where Britain was facing a pretty bleak time and Coward had a peculiarly British ability to find comedy and wit and humour and levity in some pretty bleak subject matter,” notes Stevens, 38.

“Essentially, my character is a grieving alcoholic at the end of his tether, struggling with writer’s block and, you know, he’s not in a great way.

“Yet, Coward finds this absolutely mad triangle and, you know, it’s just glorious chaos really. I think, you know, it’s quite nice to remember that in the midst of all the bleakness.”

A combination of physical comedy and an altogether softer approach to Coward’s original sharp, quick-witted exchanges, the film sees Madame Arcati conjure the spirit of Charles’ first wife, Elvira, resulting in an ensuing love triangle from beyond the grave.

“You’ve got a group of us really sat around essentially watching Judi do her thing – we have a couple of interjections, but it’s really the Madame Arcati show at that moment, quite literally,” adds Stevens of shooting the film’s seance scenes.

“There are all sorts of effects going on and it’s a long old scene.

“But great fun, you know. Just a very silly gang, sat around a table with Judi Dench doing her incredible work, it’s a pretty great day at the office.”

First opening in the West End in

1941, the original production was subsequently transferred to the big screen courtesy of David Lean and his 1945 adaptation. By today’s standards, the premise of two wives quarrelling over their husband might be considered a little outdated as a concept.

However, the script boasts a warm and nostalgic undercurrent which, paired with the film’s period setting, provides some suitably comedic respite in the midst of an otherwise bleak January.

“It had all the right notes that made me want to do it, really,” says Stevens.

“And also, it was my first time trying to do Coward on screen, which not a lot of people have tried to do to be honest and it hasn’t always been done successfully.

“There was a lovely circularity to this project, in that my first West End job was in Noel Coward’s Hay Fever with Judi Dench, directed by Sir Peter Hall.

“I started out in his theatre company and it’s his son, Ed Hall, who came to me with this really lovely adaptation.”

As the tit-for-tat storyline unravels, Charles’ current wife, Ruth, finds herself increasingly jealous of Elvira, a woman only her husband can see.

Equal parts talented and manipulative, Mann’s ghostly character is something of a wind-up merchant when it comes to subtly taunting her living counterpart

– a trait that captured the attention of Mann from the outset.

“I was thrilled to be asked to join in

– I was asked kind of late in the game, I think someone else dropped out,” laughs Mann, 48.

“To be able to completely let loose and be this big character – I’ve never done that before.

Blithe Spirit is available to watch now on Sky Cinema.

The opening episode was commendably restrained, and all the better for it. With five more episodes to go, and Armstrong’s other half turning up, everything crossed it stays that way.

A good week for TV drama was topped by It’s a Sin (Channel 4,

Russell T Davies’ look back at the 1980s opened on the Isle of Wight with Keeley Hawes, her again, preparing to send off her son Ritchie (Olly Alexander) to London and a university course in law.

When Ritchie arrived he found there were far more interesting things to do in the capital than learn about contract law. Roscoe (Omari Douglas) already knew this, having been kicked out by his family for being gay, while Welsh Colin (Callum Scott Howells) was just a beginner in the ways of the flesh, but he was awfully keen to learn.

As the three danced the nights away to poptastic 1980s music they were the picture of joyous youth and freedom. Even the whispers about some mystery illness from America, a “gay flu”, was not enough to turn the music down on the party.

The obvious comparison was to Armistead Maupin’s Tales of the

City, but It’s a Sin was both uniquely British and unmistakably Davies in its humour, pace, and daring.

No other writer on television at the moment stretches the limits of what is possible like Davies, most recently with Years and Years and now this. If he had a coat of arms it would surely say, “Go big or go home.”

The end of the first episode was a case in point, when he blended the youngsters talking about their definitely fabulous futures with another scene being played out in a hospital. As we watched the doors to three lives fly open another slammed shut with cruel finality. I sense many tears before bedtime with this one.

Back (Channel 4, Friday) returned with less of a bang and more of a tempting sizzle. Robert Webb and David Mitchell play Andrew and his foster brother Stephen, a warring duo that make the

Mitchell bruvvers on EastEnders look as sweet and mild as Fran and Anna. But Andrew and Stephen fight to middle class rules, which means fewer punch ups and more delightfully withering put downs. Webb and Mitchell are the Morecambe and Wise of snarky comedy. Long may they sneer together.

On Coronation Street (Monday), Yasmeen continued the long slog back to self-confidence after the departure of Geoff the loathsome bully.

Having intervened to warn Asha that her boyfriend was a wrong ‘un, she was starting to function as a one woman Thelma and Louise. This week it was Ray the rat (apologies to rats) who was trying to ruin her day and she was not having it.

“Now,” said

Yas, freezing him to the spot with an imperious air, “as I think my grandaughter would say, jog on”. You go girl.