Certain theatrical classics from notorious playwrights will
obviously be revived on a number of occasions, but is there a point when their
life should finish and never be performed again? The Theatre Royal Bath’s West
End transfer of Noël Coward’s 1924 play, ‘Hay Fever’ does show that this is not
the case as it was a side-splitting performance with comical depictions.
‘Hay Fever’ is set in the Hall of the Bliss family home, in
Cookham June 1924 where we are familiarised with the eccentric Bliss family who
consist of retired stage actress, Judith, her novelist husband, David and their
children, Simon and Sorel. Each member has invited someone to stay the same
weekend, and in the Lavender Room, however neither of them have informed each
other about it and as you’d imagine this causes problems almost immediately.
Judith has requested that up-and-coming boxer, Sandy Tyrell (Edward
Killingback) to the house and both are fans of each other’s work. Her son Simon
has asked vampish, Myra Arundel (Sara Stewart) to stay, moreover, Sorel has
invited diplomat, Richard Greatham (Michael Simkins) to come and David has
called for mindless flapper girl, Jackie Coryton (Celeste Dodwell) to stay the
night. Throughout the parlour game in
the evening, it appears that the guests are weirded out by the Bliss’ and are
ready to escape already. However, the Bliss’ become interested in the other
guests; such as Judith and Richard, David and Myra, Sorel and Sandy and finally
Simon and Jackie. Judith and her family revel in their own pomposity and when
they stage a miniscule section of one of Judith’s acting masterpieces in which
is freaks their guests out. The next morning arrives and the guests are up
early as all four are frantic to leave and the breakfast cooked and prepared by
the Bliss’ servant, Clara (Mossie Smith) cases some commotion and when David
pays her for her silence, the four guests soon depart . At the finale, the
Bliss family comes down for their breakfasts are unaware of the guest’s
departure and talk about David’s completed novel. Coward’s narrative is
ecstatically funny as the over haughtiness of the Bliss family and their unique
traits does enable us to see how their characteristics will alienate those who
cannot identify with them.
One found the performances by the company of, ‘Hay Fever’ to
be gratifyingly characterised with eloquently pronounced diction. Felicity
Kendell is splendid as former leading lady of the stage, Judith; in particular
the moment where she does her best acting in a re-enactment of one of her most
memorable scenes and how fake her faint looks shows how she is still sought
after she is by returning to the stage. Simon Shepherd is conventional as
Judith’s husband, David; mainly how he strangely becomes besotted with Myra and
when he declares to his wife that he is going to leave her shows his stupidity and
how it miffs Myra as she does not want to be in a relationship with him. Alice
Orr-Ewing is amusing as Judith’s daughter, Sorel; principally when she argues
with her brother about silly things and the realism of the confrontations and
her apparent love for boxer, Sandy looks intangible. Edward Franklin is witty
as the Bliss’s son, Simon; exclusively how childish he is when he blurts out to
his family and guests about his and Jackie’s supposed engagement and you can
see how gleaming smile does emancipate and he is oblivious that Jackie doesn’t
like him at all.
Lindsay Posner’s direction is brilliant here as he has
staged a classic play’s revival in such an effective and this can be shown in
the audience’s reaction to the droll dialogue and the presence of Coward is
alive here. Peter McKintosh’s design is opulent as I was vastly transfixed into
the Bliss’ eccentric persona and there’s an inordinate charm in the
construction and scenic painting as well as the decoration of materials etc. Overall, the experience of, ‘Hay Fever’ to be exceptionally
funny and a riveting show.
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