Hay Fever

It is always a delightful time visiting the Genesian Theatre on Kent Street. The little space is part of Sydney's history, and while the Genesians' new home will undoubtedly be lovely, a visit to Kent St Theatre is a must before time runs out. The team has just opened their latest production of Noël Coward's Hay Fever, a comedy set in the 1920s that showcases Coward's talent for creating eccentric characters and witty dialogue. 

The play follows the Bliss family as they each invite a guest to the country for the weekend, leading to chaos and misunderstandings. 

The setting is crucial to the play's comedic dynamics. The Bliss family's country house is a whimsical and eccentric place filled with artifacts and personal touches that reflect the family's extravagant lifestyle. Decorated with mismatched furniture, colourful oriental walls, and decorations that suggest an artistic nature, it is cluttered yet charming, creating a sense of intimacy and chaos that mirrors the characters' lives.

The set transitions between different areas of the house, such as the garden, where characters retreat for private conversations or moments of reflection, the library (for other shenanigans), or the upstairs rooms. A seamless flow between indoor and outdoor spaces allows the characters to engage in comedic interactions. Director Jason Darlington has a spot-on vision, which was realised by Set Designer Peter Curtis. 

Once the scene is set, the players go to work. The family are blissfully unaware of their bad manners and self-absorbed selves despite all the airs and graces of a well-to-do family. While some of the humour is dated (as you expect) or lost over the years, keeping the play in its original setting preserves it.  Hay Fever oscillates between moments of drama, farcical comedy, and genuine emotional revelations. Judith Bliss (Elizabeth MacGregor) is the matriarch of the Bliss family. She is a retired actress with no intention of retiring and is trying out some version of Retired in the Countryside as her latest role. She craves attention and drama. MacGregor’s portrayal of the theatrical, overly dramatic mariachi is perfect, as she dominates the conversations with her extravagant flair, flitting about always in this character or that. Her husband, David (Christopher Gale), contrasts Judith's theatricality with his more reserved nature as the novelist, who often gets lost in his writing and is somewhat aloof to his family's antics every bit as bad-mannered. 

Their children, Sorel (Zoe Wilson) and Simon (Harry Charlesworth), are spirited and impulsive, quickly getting swept up in romantic fantasies and the theatricality of any situation. Charlesworth and Wilson execute their self-absorbed nature as they bicker and banter through the play. Both are charming but lack depth, with Wilson’s Sorrel the only one to have any self-reflection by the play's end. 

Roslyn Hicks, as the ever-suffering maid Clara, provides comic relief throughout the show; her exasperated sighs and eye rolling give the audience a glimpse into what living with the Bliss family is like as they dump an extra four guests for the weekend onto her workload and constantly ring for attention. 

In contrast to the Bliss family are their unsuspecting guests: Myra (Karys Kennedy), a socialite with a subtly manipulative nature; Sandy (Yusuf Nayir) and Richard (Simon Pearce), who become entangled in the family's antics and misunderstandings; and naive young Jackie (Laura Wallace), who is easily flustered by the Bliss family's dramatics. Her reactions to the chaotic weekend add a comedic element and prove that you can still have a memorable presence no matter how small the role is. 

The Bliss family and their guests are a joy to watch, as each character brings their unique quirks and motivations to the forefront. From Judith's melodramatic outbursts to Simon's flirtatious charm, the characters play off each other with delightful absurdity that entertains the audience; the man next to me chuckled his way through the entire show. 

The interactions between the cast are marked by rapid-fire dialogues, witty banter, and misunderstandings that escalate into comedic situations. The mood shifts seamlessly from light-hearted banter to intense confrontations, creating a sense of unpredictability and fun enhanced by Coward's clever wordplay and satirical take on the theatrical world. 

As the play winds up, the audience is left to wonder if there is a plot or if it is an observation of this bad upper-class human behaviour that the Bliss family will likely play out repeatedly on unsuspecting guests. 

Susan Carveth has costumed the cast in fabulous 1920s attire. The pants are high-waisted, the skirts are drop-waisted, and there appears to be a colour palette through acts 1 and 2 that drops away after breakfast. It would have been fun to see that continue. An enjoyable peek into history through an experienced costume designer.

Genesians’ Hay Fever, directed by Jason Darlington, is a fun production for anyone looking for a light-hearted escape into the world of Noël Coward's comedic genius. With its colourful characters, witty dialogue, and chaotic plot, the play offers a delightful romp that will leave audiences laughing and well entertained.

Nicole Smith

Images: Luke Holland, LSH Media

Hay Fever Cast: (L to R back) Karys Kennedy, Roslyn Hicks, Yusuf Nayir, Simon Pearce, Harry Charlesworth and (L to R front) Elizabeth MacGregor, Christopher Gale, Zoe Wilson and Laura Wallace.