There ought to be hi-jinks aplenty. When retired actress Judith Bliss, her husband, son and daughter each invite a prospective romantic conquest down to their country seat for the weekend, the poor saps have no idea what a tempestuous time they are in for in the name of fun. Judith’s self-dramatisation sets the tone for the entire family, and they embark on a farcical version of the game of “Get the Guests” from Who’s Afraid Of Virginia Woolf? Yet, although Hay Fever is one of Noël Coward’s best beloved plays, and shows that even in his mid-twenties he had a masterly sureness of comedic touch, it is quite a difficult work to put an individual stamp on.

Lindsay Posner’s revival was lauded on its première in Bath last summer, and the Theatre Royal there has shown a canny instinct under Danny Moar’s management for West End transfers. However, I find myself wondering what all the fuss is about. Posner is now more often a director of care than of flair, and what distinguishes his staging of Hay Fever is its refusal to go over the top even when positively required. Part of this may be due to a calculation that what is wanting in brio will be made up in audience affection for Felicity Kendal in the role of Judith; however, it may also be that Kendal herself simply lacks the energy. “Anyone would think I was eighty, the way you go on,” says the 68-year-old actress to her stage offspring, each playing more or less 20 years of age. There is nothing to stop Kendal portraying such a rumbustiously flighty middle-aged woman, if she can; but there is no rumbustiousness here. When her voice should be swooping and soaring, she sticks to that trademark kittenish growl of hers.

This lack of oomph spreads through the company, from Michael Simkins playing a buttoned-up diplomat but giving too buttoned-up a performance to Simon Shepherd who seems simply miscast as Judith’s novelist husband (even though ultimately he delivers the stagiest OTT moment of the evening). There will always be another revival along in a while; this one is just too dignified.
  
Written for the Financial Times.