Ghost of a Play Although Cowardís Play Solid, Direction and Acting Lack Bite by Carolyn Cosmos The theater charmer ìBlithe Spirit,î playing at Marylandís Olney Theatre Center, is a welcome staging of a British classic. The popular 1941 comedy by playwright, actor and limelight-loving wit Noel Coward has endured and flourished through multiple incarnations on both sides of the Atlanticóit was even turned into a musicalóand the Olney staging, although somewhat disappointing in other areas, clearly shows off the playís strengths. The witty plot and clever lines Coward claims to have written in less than a week provide constant comedic turns. The deft humor is sophisticated, arch and ever so slightly subversiveóa gift that made Coward both famous and controversial in his time. The story features a beleaguered and languid writer, Charles (played by Paul Deboy), who is living in a spacious ìcountry houseî outside of London with his second wife Ruth (an elegant Julie-Ann Elliott), their obsequious and apparently bird-brained maid Edith (Tara Giordano), and, eventually, a ghost visible only to Charles himself. The apparition is Elvira, Charlesís first wife back from the grave, played with deft Marilyn Monroe to uches by Kate Goehring. Elviraís provocative presenceósheís draped in sexy satin gowns and given masses of tumbling white-blond hairóis called up by an eccentric village medium, Madame Arcati (played by Washingtonís well-known Halo Wines). This comic ghost spouse creates a mÈnage ? trios that at first resembles fairly innocent mischief. However, through plot twist, Elviraís intent takes on a more questionable complexion, as it becomes clear that she is not quite as blithe a ghost or as devoted a wife as she first appears to be. The acting for the most part is sturdy. Wines, who for years was a mainstay at Arena Stage, is in a master class all her own. Her wizardly use of timing, props, costumes, gestures and body comedy is impressive. Unfortunately, this is a thoroughly Americanized, homogenized version of something that should be sharp, quick, daring and sparkling with wit. The production at Olney is all-American, and thus the comedy that emerges is American humor rather than British wit. Whatís missing is the inner acerbic Coward attitude. As a result, the direction and the acting lack bite. Thereís no cynical takes or dark, sly twists or upscale put-downsóitís just all too innocent. Nevertheless, the play is still worth your price of admission. Winesís portrayal of Madame Arcati and Goehringís Elvira shine, and the realistic, delightfully propped and multi-roomed set is a scene stealer. In fact, itís the real star of the show. There is a working fireplace, library, piano, gramophone, French doors, sliding doors, front doors, staircases, alcoves and wonderful í40s touches, including the costumes and set fabrics. The windows, for instance, are draped in vast swathes of floral cotton, set off by floral-themed paintings on the painted and stenciled wallsóto which Elvira complains of Ruthís taste, ìSheís ruined this place!î In a city of gravely abstract and typically minimal theater sets, itís a pleasant change. Scenic designer James Wolk said he and director John Going decided to design the set this way to facilitate the plot. ìWe decided early on it had to be realistic because of the ghost.î To truly illuminate Elvira, they made the set ìfully dressed, fully propped. We even made the walls blue and green to set her silver off.î Wolk imagined Charles seeking escape in the country, even though he was not quite at home there, and then in comes Elvira to completely turn his idyllic life upside down. ìItís a set style known as ëpoetic realism,íî Wolk explained, adding that he was working in the tradition of New York set designer John Lee Beatty. The multiple levels, alcoves and inner rooms visible to the audience were designed to show off the actors and provide them with interesting spaces in which to do their dramatic work. Wolk said the Olney ìBlithe Spiritî stage is even slightly raked, sloping upward toward the back in an old theater tradition that yielded the familiar terminology ìup stageî and ìdown stage.î Wolk said he and the director wanted to emphasize the floral theme. He personally shopped in New York City for the curtain fabric, returning with brushed cotton ìwith a 1940s feel.î In the end, this well-ordered home is completely destroyed by the playís magic tricks. So what were the engineering tricks involved in making this house collapse? Those trade secrets are magic, and Wolk said he couldnít reveal them. Clearly Wolk was having fun with his set. The same appears to be true for the rest of those involved, director, cast and crew. Itís an amusing play, and the Olney Theatre Center has done it up as a brave production, even though itís still not quite Coward. ìBlithe Spiritî runs through Nov. 7 at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, Md. Tickets are $15 to $36, with discounts for groups, senior citizens and students. For more information, please call (301) 924-3400 or visit www.olneytheatre.org. Carolyn Cosmos is a contributing writer for The Washington Diplomat.