Review: Hay Fever (Wyndham’s Theatre)

Review by Sam Woodward

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The associations of hay fever are largely negative, especially for those whose enjoyment of long summer evenings and warm sunshine is interrupted by sneezing, coughing and itchy eyes. Written in 1924, Noël Coward’s Hay Fever exchanges the discomfort of allergies for the unease of eccentric English country life, as four individually invited but collectively unwelcome guests arrive. Sitting somewhere between high farce and a comedy of manners, this new revival of Hay Fever at the Wyndham’s Theatre follows the lives of the Bliss family as they contend with hosting duties, fraught family relationships, and a heavy dose of narcissism. 

The play, which originally opened in London in 1925 and ran for 337 performances, is loosely based on Coward’s friends, playwright Hartley Manners and his wife, the eccentric actress Laurette Taylor. Reportedly written in just three days, the plot is relatively thin, but what is lacking in storyline is more than made up for in astute wit and sharp satire. Following frequent revivals over the past century, including a 2015 West End production starring Felicity Kendal, this revival does not aim to transport the play to the present day, instead paying homage to the history and nostalgia of the piece. Heavily traditional, filled with powerhouse actors, and expertly timed, this play brings a light evening of continual humour, 1920s glamour, and a dash of societal judgement. 

At the forefront of this strong cast is Christine Baranski, a talented actress whose skills span film, television and stage, earning her numerous accolades including two Tony Awards. It is not always easy to live up to the expectations that such acclaim can bring, but Baranski meets and exceeds them with ease. A force of comic genius, her impeccable timing, brilliant voice work and deadpan humour are exceptional to watch, making it very difficult to peel your eyes away from her. Commanding the attention of the audience, her family and the guests on stage, Baranski is the perfect Judith Bliss. Her lament over her own appearance in the mirrors captures the balance between egotistical power and subtle emotional misery beautifully, making Judith’s vanity both ridiculous and faintly sad. Audiences move seamlessly between laughing at, with and against matriarch Bliss, thanks to Baranski’s layered and dynamic performance.

Baranski is supported by a phenomenal cast, each bringing their own powerful presence to the stage, together creating a fascinating social environment to watch over the course of the evening. Richard E. Grant’s David Bliss displays a sharp intellect and a subtle distaste for his own family and their guests. With a flair for physical comedy, Grant’s buffoonery with guest Myra Arundel, played smartly by Nancy Carroll, and his hilarious double handshake interaction when meeting his guests are sharp and witty. Will Close, who plays the Blisses’ son Simon, is dramatically over the top thanks to his obnoxious outbursts, and his sibling rivalry with sister Sorel is both dynamic and relatable. Sorel, played by Ophelia Lovibond, brings the glamour and confidence of the 1920s to the show, as well as a snarkiness that is most befitting of the daughter of Judith. 

Charles Edwards and Lucy Karczewski are both exceptional as guests Richard and Jackie, and their scene together, alone in the Bliss house, is so funny and so awkward that audiences can feel the palpable embarrassment from their seats. Karczewski not only nails her physical humour as a shy, flustered young woman who is entirely out of her depth with the Bliss family, but brings an elevated comic turn through her use of almost imperceptible noises, squeaks and squeals that are expertly timed and perfectly judged. Jo McInnes successfully fails at attentive service as maid and former dresser Clara, remaining impressively indifferent to the farce happening around her. Giving the impression that this is just another day in the Bliss household, McInnes is excellent as the disdainful maid, bringing brief moments of reprieve from the intensity on stage. This cast works excellently as an ensemble, but it is really the individual scenes between all different characters that expose an expertly constructed ballet of movement, conversation and farce.

Much of this success is down to director Emily Burns, who has created a precise and skilfully timed production. Burns brings contrasting characters and opinions into sharp focus, allowing their differences to drive the comedy. It is the difference between these elements that makes the play a success, and Burns lays them out in front of audiences with a unique flair. The scenes adeptly sway between humour, anger and defeat within moments, and then back again. Burns knows the power of pauses and the fact that the awkwardness of silence can be just as telling as spirited dialogue, and expertly times these moments throughout the play.

Frankie Bradshaw's costume and set design perfectly match the 1920s style of Coward's play. Even before the show begins, the safety curtain depicts an angel bearing Christine Baranski’s face, offering a wonderfully whimsical hint of the evening ahead. Bradshaw’s set design is appropriately lavish, reinforcing the wealthy countryside estate that houses the action. Gilded frames line the walls, plush velvet covers the furniture and oversized floral arrangements fill the vases, creating the extravagance that the Bliss family are accustomed to, but also an imposing space that adds to the discomfort of the guests who arrive. Bradshaw’s designs capture the stuffy glamour perfectly. The mirrors on the walls allow a couple of hilarious interactions between characters and their reflections. Bradshaw’s costumes also add a vibrant glitz to proceedings, reinforcing the nostalgia of the play. 

Hay Fever succeeds because it unashamedly leans into the farcical nature of the plot. There are no deep moral lessons to be learnt, nor anything particularly moving about it, but its comic precision is reward enough. There is also something unexpectedly relevant about the plot, the selfishness of human nature, the pains of hosting a group of people, and the trials and tribulations of family life that allow the humour of the play to dig a little deeper than surface level. The plot remains relevant, the jokes remain scathing, and the dynamics remain provocative. Led by Christine Baranski’s effortless prowess, Hay Fever is not simply a good night out at the theatre, it is pure bliss.

Hay Fever plays at Wyndham’s Theatre until 12 December. Tickets from https://allthatdazzles.londontheatredirect.com/play/hay-fever-tickets

Photos by Marc Brenner.