Hay Fever review: Of course, Richard E Grant is perfect for Coward!
Of course, darling: Richard E Grant simply must play David Bliss, the blinkered, posho patriarch at the centre of Noel Coward’s drawing room comedy, Hay Fever. This is how I imagine the casting conversations went, anyway. Shockingly, E Grant – everyone’s favourite aristo-portrayer – has until now never starred in a Coward play, so here [...]
Richard E Grant's portrayal of David Bliss in Noel Coward's drawing room comedy Hay Fever is undeniable. The casting conversations must have felt like a dream come true for the actor, who has never before played a Coward protagonist. Grant brings a delightful level of flamboyance to the role of the delusional novelist, perfectly embodying the posh and blinkered nature of the character.
Emily Burns' adaptation of the play remains relevant to our 21st century idiosyncrasies, as the absurdity of the characters' behaviors becomes more apparent with each passing scene.
The Bliss household in Cookham, Berkshire serves as the backdrop for the story, where retired actress Judith Bliss claims she will return to the stage. Her character is a fusion of two real women Coward knew, one a New York socialite and the other from London. Christine Baranski delivers both heft and hilarity as the matriarch, her witty barbs dropping heavily but with an air of elegance.
The play begins with a pedestrian tone, as the gags don't quite land and the characters have little to say. However, by the interval, the playwright's genius shines through, as the explosive revelations slowly come to the forefront.
Hay Fever starts off relatively tame, but the family dynamics quickly become explosive as the four family members, including son Simon and daughter Sorel, invite guests to join them for the weekend. The incoming guests, including Nancy Carroll's London society type Myra and Ash Hunter's amateur boxer Sandy Tyrell, are confronted by the family's constant squabbling and petulant behavior.
As the tensions reach a boiling point, the guests unite to form a plan for escape. Throughout the play, Coward's best lines derive from the explosive tiffs between Judith and David, with their artificiality bordering on lunacy. Baranski's flawless English accent, influenced by her work in Mamma Mia, adds an extra layer of authenticity to the character.
The play remains a timeless chronicler of family bust-ups, playing at the Wyndham's Theatre until December 12th.
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