‘Hay Fever’ delivers witty chaos at Butler Little Theatre
Thespians know what to expect from a Noël Coward play, even one written when the playwright was only 25 and still refining his famous style. There will be razor-sharp wit, skewering of class pretensions and a parade of social discomfort. Butler Little Theatre’s production of “Hay Fever” delivers exactly that, leaning heavily on the talents of a seasoned cast capable of navigating Coward’s precise rhythms and theatrical absurdity.
Set during a long weekend at a country house outside London, the play follows novelist David, retired actress Judith and their eccentric children, Simon and Sorel, as they each invite guests to the estate without informing one another. The result is a slow-motion social disaster in which bewildered outsiders attempt to survive the family’s endless emotional games and theatrical self-indulgence.
The opening moments establish the tone. Molly Miller’s Sorel and Sam Thinnes’ Simon casually discuss the family’s dysfunction before preparing the audience for the grand entrance of their mother. Sorel remarks, “We’re so awfully bad-mannered,” a line that becomes both warning and promise for the chaotic weekend to follow.
The show has little plot in the traditional sense. Instead, the comedy emerges through character interaction, uncomfortable pauses, melodramatic overreactions and the gradual realization that the Bliss family treats everyday life as though it were a performance. Butler Little Theatre’s production trusts the actors to carry that dynamic.
Director Casey Bowser avoids overcomplicating the material. Instead, he allows his experienced cast room to discover the comedy naturally while maintaining enough structure to keep the production moving. His strongest work appears in the repeated scenes in which Judith, Simon and Sorel reenact portions of the would-be vehicle for Judith’s return to the stage. The exaggerated poses and sudden emotional turns become some of the production’s funniest sequences.
The technical approach remains understated for much of the production. That restraint pays off once the family and guests change into evening attire. Here the lighting catches every jewel, sequin and shimmering fabric on the stage, transforming the costumes into something hypnotic and perfectly appropriate for a family that treats life itself as theater.
However, the production’s greatest strength lies in its cast. Heidi Nicholls Bowser gives Judith Bliss the kind of oversized performance the role demands. Nicholls Bowser’s Judith is batty, self-absorbed and incapable of recognizing the discomfort she creates around her. Whether dramatically reenacting scenes from her creaky old melodrama or casually destroying the emotional stability of her guests, she remains consistently entertaining.
Andrew Miller’s David Bliss initially appears the calmest member of the household, quietly observing the family’s eccentricities with detached amusement. By the third act, however, Miller reveals that David is every bit as narcissistic and emotionally chaotic as the rest of them, particularly once he discovers that Myra admires his novels.
Molly Miller gives Sorel a self-awareness that the other family members lack. She understands how strange the family appears to outsiders and occasionally suggests a desire for improvement, though she remains just as trapped in the madness as everyone else. Thinnes uses his lanky physicality to excellent effect as Simon, contributing much to the show’s physical comedy while maintaining Simon’s eager theatricality.
The guests provide an essential counterbalance to the Bliss family’s chaos. Matt Leslie’s Sandy begins as an enthusiastic young admirer infatuated with Judith before gradually realizing he may need to flee the estate entirely. Leslie skillfully charts Sandy’s progression from romantic excitement to quiet panic.
Megan Flannery’s Myra Arundel grows increasingly frustrated by the family’s bizarre behavior while simultaneously becoming entangled in it herself. Flannery plays Myra with a flirtatious confidence that shifts effectively once her attention moves from Simon to David.
Lalia Tyler captures young flapper Jackie Coryton’s nervous energy. Her Jackie is flighty, uncertain and visibly overwhelmed by the strange emotional currents inside the Bliss household. One particularly effective sequence pairs her with Jud Stewart’s Richard Greatham in a painfully awkward exchange of small talk. Stewart plays Richard with polished diplomatic calm, which gradually cracks under the pressure of the family’s absurdity.
Katy Wayne is Clara, Judith’s sharp-tongued maid and former theatrical dresser. Cigarette in hand, Wayne delivers dry observations and one-liners with perfect timing and the weary resignation of someone who has endured the Bliss family for far too long.
Butler Little Theatre’s “Hay Fever” succeeds because its cast understands exactly how seriously to take the absurdity. The result is an evening of stylish chaos, theatrical vanity and social discomfort that remains deeply funny nearly a century after it was written.
“Hay Fever” runs approximately two hours, with a 15-minute intermission. Performances are Friday, May 29, through Saturday, June 6, except Monday, June 1. Tickets are available at butlerlittletheatre.com.
