Arts > Theatre
Hay Fever
Maddermarket Theatre
24/04/17
If you’re looking for a safe pair of manicured hands those of Noel Coward would certainly do nicely. Amateur theatre groups have relied on his wit and charm to put bums firmly on seats for most of the last century. Classics become classics for a reason and writers like Coward, Ayckbourn and Pinter are considered safe bets so it was in hope of an enjoyable night at the Maddermarket that I headed out.
A jaunty soundtrack and a light baritone greet us as we enter the auditorium as the gramophone’s brass trumpet starts to set the scene. Elegantly decorated, the set is altogether too busy and offers a challenge to utilise such a clustered space. It does serve to establish a tone for this comedy of manners in creating a manic cluttered space for a manic and mentally cluttered family - it also gives plenty of set for the chaotic characters to bounce off in the more high tempo moments. Still, less is more and there is a bit too much going on. The stage is narrowed by partition walls and excess furniture, a balustrade and mezzanine, making some blocking and sight line difficulties.
Part farce and part comedy of manners, the comedy comes from the lack of manners. The Bliss family are a collection of theatricals and creatives. It is kindly remarked of them that they are ‘bohemian’ but it later becomes clear this could be better translated to ‘bloody rude and incapable of grasping basic social niceties.’ Each family member, unbeknownst to the others, has invited a guest to stay at their country home for the weekend. The contrast between the poor visitors trying their utmost and the Bliss family treating them dreadfully is mined for laughs. The script is charmingly amusing but sadly lacks the sheer number of sharp witticisms of other Coward plays... it is altogether too gentle for my liking! Some lines land nicely but others were swallowed and lacked bite. Unfortunately, to more modern sensibilities the family come across as preening, privileged posers creating their own problems. To have made them worse would have redeemed them by really exaggerating their flaws and their differences from normal folks. Just being the basic thoughtless and self-centred types they are felt like a waste. Despite this, the verbal dexterity of Coward did shine through and some moments fizzed with excitement.
To talk of the plot is a challenge. Contemporary reviews of the original production noted that... there isn’t one. On reflection this does work thematically in one key way. The Bliss’ house guests are neglected by their absent or abhorrent hosts and left adrift with little to do. They are forced to awkwardly stand around and make idle small talk. Faced with a play with no actual narrative we are placed in much the same situation. Instead of being able to rely on the narrative thrust to drag us along we depend upon the sharpness of the script and charm of performance to keep us entertained, both of which we fortunately had. I’ve remarked on the flaws with the script but it is still a Noel Coward, and still funny and enjoyable.
The first act takes a long time to find its feet as it has a number of characters to introduce and conflicts to set up. It does bounce along quite pleasantly but the second act is really when it starts to break into a firm stride. A blistering argument starts us off and while still missing in real plot it carries us more confidently to the end.
Playing it safe isn’t as easy as it sounds. Relying on classics and firm favourites creates a level of expectation and anything short of perfection could be a disappointment. It was a gentle and enjoyable evening of entertainment but lacking any real shine.