Hay Fever at Wyndham’s Theatre

To place Christine Baranski and Richard E Grant onstage in a Coward play and not end up with a wonderfully camp evening of entertainment would be a terribly difficult feat. Thankfully, Emily Burns’s production of Hay Fever delivers flamboyance in droves.

Before the production begins, a safety curtain hangs in front of the audience, adorned with an angelic figure that bears a remarkable resemblance to Baranski. As the curtain rises, the stage of Wyndham’s Theatre becomes the living room of a 20s country house; French windows stretch up to the ceiling leading to a shimmering chandelier, a fully stocked bar cart is piled up with crystal glasses – the wallpaper of the room even matches that of the theatre itself.

Enter a company of caricatures. The bohemian Bliss family are bored – each of the four family members has invited someone to stay for the weekend, unbeknownst to the rest of the household. Baranski plays the matriarch, a retired West End star whose theatricality has shifted from the stage to the living room. Her husband, Grant, is a novelist, desperate to finish the last chapter of his latest work. Their children, Simon (Will Close) and Sorel (Ophelia Lovibond) are spoiled and histrionic, equally in awe of and embarrassed by their parents.

Lucy Karczewski, who plays Jackie, a young flapper girl, brings immaculate comedic timing to the role. Her chemistry – or lack thereof – with Richard (Charles Edwards) is highly amusing, and the pair’s ability to embody awkwardness must be applauded.

The costumes, designed by Frankie Bradshaw, are just as perfectly over-the-top as the characters that wear them. From evening gowns layered like petals to sequin-adorned mesh capes, the extravagant designs feel perfectly at home within the Bliss’s florid home.

This staging has nothing particularly political to say, nor does it leave the audience with any moralistic takeaways; rather, Hay Fever feels like a dance of elongated vowels, pantomime-worthy gasps and sideways glances. The Bliss family, described by Myra (Nancy Carroll) as “superficial to the point of lunacy”, maintain their exaggerated demeanour throughout the play, leaving little room for any real depth. The first half of the show is dynamic and highly bouncy; however, the second half stalls and is slightly less digestible.

Hay Fever is brimming with wit, performed by a strong cast of comedic actors. A feel-good production with all the glamour – this Coward classic is full of joy.

Emilia Gould
Photos: Marc Brenner

Hay Fever is at Wyndham’s Theatre until 12^th December 2026. For further information or to book, visit the theatre’s website here.