Hay Fever

The first Noel Coward play to feature at the Noel Coward Theatre (formally the Albery) is a triumph for all involved. Despite the memory of Judi Dench in Peter Hall’s stunning 2006 West End production, director Howard Davies casts a new light on this play, emphasising the modernity of both the characters and situations, making the dysfunctional Bliss family read more like a modern day soap opera. This cleverly constructed play, which by admission Coward found to be one of his hardest to deliver effectively, is almost plot less and relies on the brilliance of the actors to create an atmosphere in which the Bliss family inhabit and manage to terrify a cross section of ‘normal’ society.

Designer Bunny Christie shakes off the shackles of typical Georgian Britain which we have come to associate with the play, instead evoking a more modern bohemian environment which sets up the family against the traditional social norms. Creativity surrounds the house, as retired actress Judith Bliss (Lindsay Duncan) coddles her squabbling children Simon and Sorrel along with husband David (Kevin R McNally) who spends much of the play finishing his latest novel. As the family begin to realise they have each invited a guest to stay for the weekend the comic plot is exposed. Coward sets the family up as sycophants before any of the guests arrive, aided by Howard Davies’ immaculate direction finding new colours to each character, adding to the overall sense of madness.

Clara the housemaid acts as an anchor against the mayhem, delivered by the exceptional Jenny Galloway who plays familiar territory well. Freddie Fox sticks out as a weak link within the production, over feminising Simon in a sort of foppish attempt at resisting the fresher time shift, overacting the part to the point of becoming exasperating. His vocal tones and mannerisms jar with the rest of the play as he tries too hard with both the text and physicality, quickly becoming the most irritating member of the Bliss household.

Lindsay Duncan brings a certain freshness to the role of Judith Bliss and looks wonderfully young onstage – a trait that is enhanced by her surroundings but clashes with the hay fever she has left behind onstage, making her coming out of retirement somewhat less of a shock. She interacts well with the external characters and resists the urge to self indulge channelling the ensemble nature of the play. Set pieces are delivered skilfully, most notably the opening of Act Two as the family invite their guests to join in with a game of ‘adverbs’. The family’s artificiality is referenced by a rather cold Myra (delivered flawlessly by Olivia Coleman) and the outsiders are made to feel as uncomfortable as possible, despite their pairing off with members of the family that seems to come as if from nowhere, manipulated by Bliss.

The pace is fast and the jokes keep on coming. Coward’s famous aphorisms are not indulged upon, and instead are sometimes lost amongst the visual comedy as each actor fully inhabits their character. The fresh design keeps the play alive throughout and it Davies manages to make it seem that you are watching the play for the first time, which with classic a classic Coward is highly commendable.

Where I sat: Stalls E 15. Perfect seats, mid way back in the Stalls, under the overhang. Provided an excellent view of the stage without being too close.

Recommended: Comedy lovers and those who enjoy a well thought out revival with an additional star quality.