Review: HAY FEVER by Wellington Repertory Theatre

Hay Fever is a classic comedy by Noël Coward, written in 1924 and first performed in London in 1925. The play became one of Coward’s most enduring successes, running for 337 performances during its original West End season.

Set over a weekend in an English country house, the story follows the eccentric Bliss family: retired actress Judith Bliss, novelist David Bliss, and their grown children, Simon and Sorel. Without consulting one another, each family member invites a guest to stay for the weekend. The resulting chaos, flirtations, misunderstandings, and theatrical antics leave the bewildered visitors desperate to escape, while the self-absorbed Blisses remain entirely oblivious to the turmoil they are causing. One has to wonder if this family is the origin of the phrase "blissfully unaware."

This is a wonderfully witty and light-hearted play that relies heavily on the cast's delivery and timing. Fortunately, this talented ensemble handled Coward's sharp dialogue with aplomb. The principal cast fully embodied their characters, allowing the comedy to sparkle throughout the evening. It was also amusing to reflect on how some of the situations considered scandalous in the 1920s would barely raise an eyebrow today.

Keira Hikuroa as Sorel Bliss and Alex Davey as Simon Bliss set the tone from the outset with a very believable sibling squabble. My standout performance of the evening came from Ruth Corkill as Judith Bliss, the flamboyant retired actress and matriarch of the family. Corkill fully embraced Judith's larger-than-life personality, making every entrance an event. Her arrival in a spectacularly oversized summer hat,almost as large as she was,perfectly captured the character's flair for the dramatic. Paul Stone also impressed as David Bliss, portraying the novelist patriarch with warmth, charm, and just the right amount of eccentricity.

Among the four unfortunate guests, I particularly enjoyed the performances of Nethmi Karunanayake as Myra Arundel and Jimmy Sutcliffe as Richard Greatham. Both performers brought confidence and authenticity to their roles, and their obvious enjoyment of the material added greatly to the production's charm.

The set was attractive and effective, creating a convincing country-house atmosphere. Both the set design and props were of a high standard, particularly given the budget constraints that community theatre groups often face.

Costuming was a little uneven at times, although the dinner-party costumes were uniformly excellent and added significantly to the visual appeal of the production. The lighting design was unobtrusive and well judged, supporting the action without ever drawing attention away from it.

Director Susannah Donovan has done a wonderful job of maintaining pace and ensuring that the stage picture remains visually engaging throughout. Her affection for Coward's work was evident in every aspect of the production, resulting in a performance that felt both polished and affectionate.

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