Reviewed by Judd Hollander
In Stockbridge, Massachusetts during the summer of 1984 I had my first and until now, only encounter with a production of the 1964 Broadway musical “High Spirits.” After seeing the show, with book, music and lyrics by Hugh Martin and Timothy Gray, and based on Noel Coward’s 1941 comedy “Blithe Spirit,” I remember thinking how much I enjoyed it overall, but that the book was somewhat uneven.
Having the opportunity to see the recent Encores! production of “High Spirits,” I realized many of my impressions from back then still hold true. That’s not to say this show isn’t worth seeing, as there is certainly quite a lot of enjoyment to be had. Thanks to a superlative cast, a sparkling score, some delightful production numbers and the fantastic work of the Encores! orchestra.
In Hampstead, England, mystery novelist Charles Condomine (Steven Pasquale) and his wife Ruth (Phillipa Soo) are preparing to take part in a séance so Charles can gain some background information for his latest literary effort. Joining them are their friends Dr. Bradman (Campbell Scott), his wife Violet (Jennifer Sánchez) and the medium Madame Arcati (Andrea Martin). However, what is originally envisioned becomes something else entirely when, while trying to contact someone on the other side, Charles’ first wife Elvira (Katrina Lenk), who died seven years earlier, suddenly appears.
Charles’ astonishment quickly turns into somewhat of a predicament when it becomes obvious that only he can see or hear Elvira, who is upset to find Charles remarried to someone she finds completely unsuitable. It’s not long before the comments between Charles and Elvira grow ever more pointed, with Ruth becoming angrier by the moment as she believes Charles’ remarks are directed at her.
Charles soon realizes Elvira wants him to join her on her side of the veil and is doing her best to make that happen. In a fit of desperation, Charles arranges for Madame Arcadi hold another séance in order to send Elvira away. When her efforts to do so only make things worse, it sets in motion a culmination of events that no one, living or dead, fully sees coming.
At its core “High Spirits” offers a gentle lesson about the realities of change and how the past can be viewed quite differently by different people. Despite the intense passion Elvira and Charles shared during their marriage, she apparently cheated on him multiple times. At the same time, while Charles and the more sedate Ruth live quiet contented lives, the thought of his reclaiming what he once hand with Elvira proves to be an almost irresistible temptation.
The dialogue is excellent, the air literally thick with crackling retorts and witticisms which feel perfectly at home in an English drawing room comedy. The problem is that the music and conversations don’t always blend well together. The different numbers, especially when they come after long stretches of speech, often feel jarring and unnecessary as they struggle to mix with the verbal rhythms that have come before.
The irony is that the songs are all quite excellent, many of them getting their message across wonderfully. Among the highlights is “The Bicycle Song,” which gleefully introduces the alternatively mysterious and whimsical Madame Arcati; the robust “Where is The Man I Married?,” where Charles and Ruth wonder what became of the person they once knew - and which would be perfectly at home in the musical “Kiss Me, Kate.” The latter song also hearkens back to the idea of how people change over the years. Two other numbers hitting home are “What In The World Did You Want?” as Charles, Elvira and Ruth take turns lambasting one another as each tries to claim the moral high ground; and the jazz-infused “Faster Than Sound” where Elvira recounts what it’s like to be a ghost and the advantages that come with it.
With “High Spirits” Encores! is firmly in its element, that of exploring old musicals which may never be revived except in situations like this. The actors may read from scripts and carry them about, but are totally in character throughout the show, except when someone misses a line or two.
Pasquale is wonderful as Charles, a man who at the outset seems quite happy with his life, but who soon finds himself pinning for the “good old days” before realizing that maybe they weren’t always that good. Something quite apparent at the end of the show when he tries to finally get in the last word.
Soo is delightful as Elvira, a woman suddenly returned to her former existence and not at all happy about what she finds there. Her devil-may-care attitude hiding a more spoiled and calculating air where her own goals and pleasures are most important of all. As she makes clear with the jaunty “Home Sweet Heaven,” where she sings about what it’s like on the other side, name dropping everyone from Homer, Aristotle and Freud to Casinova, Lizzie Borden and Atilla.
Lenk is excellent Ruth who goes from a posed, confident woman to one hilarious meltdown after another while trying to come to terms with Elvira’s return, which has thrown her ordered world into a continual tizzy. Elvira’s reappearance also triggers Ruth’s hidden anxieties about whether Charles was truly ready to move on and be with her. These fears explored in “Was She Prettier Than I?,” one of the numbers that doesn’t quite jell with the dialogue that has come before.
Martin is absolutely perfect as the scenery chewing Madame Arcati, who never met a spirit she didn’t like. Part mysterious, part beatnik, she attacks her lines and scenes with impervious gusto. Though the character may never be in as control as she might hope, there’s never doubt that no matter the situation, she will give it all.
Rachel Dratch offers a special treat as the Condomine’s mostly silent maid, Edith. With seemingly little more to do than agree with her employers, her every appearance becomes an enjoyable comic treat, with an unexpected talent no one, least of all herself, imagines possible. She’s also excellent in “Where is The Man I Married?” where she’s run ragged as she continually tries to serve Charles and Ruth coffee according to their ever-changing instructions.
The only real casting issue is the use of Scott as both Dr. Bradman and Noel Coward. The latter basically a device to allow him to read stage directions and set each scene properly as part of Billy Rosenfield’s concert adaptation for this production. This premise works well enough initially but starts to become rather tedious as the show goes on. Especially when he is describing some of the more physical actions, which prove a distraction to what is supposedly happening on stage.
Choreography by Ellenore Scott is both tight and strong, especially in such numbers as “Where is the Man I Married?” and “Faster Than Sound.” Costumes by Jennifer Moeller come off well and the orchestral work by Harry Zimmerman, with additional orchestrations by Luther Henderson are wonderful to hear. Direction by Jessica Stone is fine, though her efforts are hamstrung at times by some of the aforementioned problems with the book.
Despite the few missteps here and there, this Encores!
production of “High Spirits” made for a fun time overall and something quite delightful
to behold.
Featuring: Campbell Scott (Noel Coward/Dr. Bradman), Phillipa Soo (Ruth Condomine), Rachel Dratch (Edith), Steven Pasquale (Charles Condomine), Jennifer Sánchez (Violet Bradman), Andrea Martin (Madame Arcati), Katrina Lenk (Elvira), Andrew Kober (Boy), Demarius R. Copes (Rupert), Dana Steingold (Girl).
Ensemble: Brandon Block, Delphi Borich, Marcus Byers, Jr., Demarius R. Copes, Deanna Cudjoe, Sara Jean Ford, Katie Griffith, Benjamin Howes, Caroline Kane, Andrew Kober, Ross Lekites, Devon McCleskey, Jeremiah Porter, Sean Stack, Dana Steingold, Halli Toland, Kamille Upshaw-Darrington, Kristin Yancy
"High Spirits"
Music, Lyrics and Book by Hugh Martin & Timothy Gray
Based upon "Blithe Spirit" by Noel Coward
Orchestrations: Harry Zimmerman
Additional Orchestrations: Luther Henderson
Concert Adaptation: Billy Rosenfield
Scenic Designer: David Zinn
Costume Designer: Jennifer Moeller
Lighting Designer: Bradley King
Sound Designer: Megumi Katayama
High & Wig Designer: Rob Pickens
Makeup Designer: Katie Gell
Magic & Illusions: Skylar Fox
Music Coordinator: Kimberlee Wertz
Production Stage Manager: Cynthia Cahill
Casting by The Telsey Office, Rachel Hoffman, CSA
Choreographer: Ellenore Scott
Featuring: The Encores! Orchestra
Music Director: Mary-Mitchell Campbell
Director: Jessica Stone
Presented by Encores! at New York City Center
131 West 55th Street
Running time: 2 hours 15 minutes, one intermission
Closed, February 15, 2026
