Hay Fever

Yesterday, I had the pleasure of attending Noel Coward’s Hay Fever at the Walnut Street Theatre in Philadelphia. Steeped in history, the Walnut has wonderful displays in their lobby educating audiences about the theatre and the many notable actors who have worked there. My parents and I arrived early, and I learned a great deal about the Walnut Street Theatre’s history while waiting for Hay Fever to begin. Skip past the end of the next paragraph to avoid spoilers! 

The play itself was masterfully written and produced. Witty, bold, and lively, Hay Fever was a riot. It’s interesting how audiences today are still able to find humor and joy in the same moments as they did exactly one hundred years ago when the play was first produced. It is a testament to the longevity of Coward’s writing as well as to the quality of the Walnut’s production. Set in the time period in which it was written, Hay Fever surrounds an eccentric, wealthy family’s weekend as they have all invited guests unbeknownst to each other. The guests, who have come for a private, quiet weekend with the Bliss who invited them, must navigate through the family’s dramatic, often fanatical ways. While the guests must survive the weekend and eventually flee the household, we see that, despite the chaos, the family is truly living in Bliss!

Many of the design elements especially stood out. A magenta and green landscape, the Bliss family’s eclectic country house was beautifully brought to life. The tall, arched windows and glass door which led to the garden paired with the lighting design gave us a picture of the shifting time and the world outside the Bliss home. The art, often askew on the walls and along the staircase, further exemplifies the quirkiness of the Bliss family. In addition to the set and lighting, the costume design was also beautiful. I especially liked the costumes in Act Two, and the women’s dresses were both a glimpse into the glamorous 1920’s and into their varying personalities. 

Alongside the design elements, I was also very impressed by the acting. Alicia Roper was a fantastic Judith Bliss, and the entire Bliss family (with Anna Bailey as Sorrel Bliss, Peter Herrick as David Bliss, and Brandon O’Rourke as Simon Bliss) displayed a perfectly absurd dynamic. The play moved at a fast tempo and was packed full of comedic moments, all of which the actors hit well. They kept us on our toes, and the (around) two hour long production went by in a breeze because I was so focused and entertained.

When I studied in London last year, I had the privilege of seeing The Motive and the Cue at the Noel Coward theatre. At the time I simply recognized the name from Blithe Spirit, but I am happy that I have gotten to see one of his plays on the stage. The production was very well done, and I believe the play itself is important, too. Amidst the time directly following World War One, where England was full of unemployment and hidden PTSD, the Bliss family is, to use the pun again, blissfully enjoying life and seems to be unaware of the struggles in the city and beyond. This is timely, as most classics are, and I found enjoyment in this timeliness yet the play’s overall unseriousness. Like Holy Grail of Memphis, I cannot recommend you to attend this production because it closed on Sunday. I do urge you, though, to check out Philadelphia’s Walnut Street Theatre! You’ll be impressed!

Photos by Mark Garvin; Featuring Brandon O'Rourke, Jared Calhoun, Ellie Mooney, Harry Smith, Alicia Roper, Patricia Noonan, Peter Herrick, Anna Bailey