A new revival of Noël Coward’s 1925 play *Hay Fever* has opened at Wyndham’s Theatre, offering a star-studded interpretation of the classic country house comedy. The production, running through December 12, features Christine Baranski in her West End debut as the self-absorbed actress Judith Bliss and Richard E Grant as her novelist husband, David.
Baranski’s performance is a highlight, though her heavily stylized English accent has drawn some attention for its unique and at times distracting qualities. Despite the initial challenge presented by this vocal choice, she gradually embraces Judith’s exaggerated theatricality, particularly capturing moments when the character’s penchant for melodrama surfaces. David’s role, largely absent in the first half, is brought to life by Grant with a congenial energy, his character’s formal white-tie attire humorously evoking the image of a waiter poised to refresh champagne glasses in the front row.
The play itself centers on the four Blisses—host and hostess Judith and David, along with their children—each inviting a guest to their Berkshire country house, only to flirt with others instead. This intricate dance of social interactions underlines Coward’s exploration of theatricality and emotional artifice, encapsulated in lines such as Myra’s observation that the house is “a complete feather-bed of false emotions.” Nancy Carroll, portraying Myra, leads an ensemble of supporting actors who skilfully navigate Coward’s sharp, rhythmically precise dialogue. Among them are Charles Edwards as the restrained diplomat Richard and Lucy Karczewski as a shy young woman whose awkwardness resonates with contemporary audiences.
The production, directed by Emily Burns, builds momentum through its two acts, with the second offering particularly engaging moments. The set design by Frankie Bradshaw complements the period atmosphere with its palette of blues, beiges, and gold trim, reflecting the elegance of the theatre itself.
Despite the play’s reputation for being light and somewhat inconsequential, this revival delivers a polished and often amusing rendition. While its narrative may remain deliberately “pointless,” as Coward intended, the production demonstrates how finely tuned performances and thoughtful design can bring fresh appeal to a nearly century-old comedy.