Family Hysteria At Full Gallop In 'Hay Fever'

Noël Coward wrote “Hay Fever” in three days in 1924, and while it moves blithely along in the Hampton Theatre Company’s current rendition, the play itself is not so terribly funny, old chap. Even the flamboyant Coward remembered it that way himself in 1964, noting “the play had no plot” and “there were few, if any, ‘witty’ lines.”

So the “comedy” is more of a light piffle than a flat-out laugh riot or wicked satire. It’s a vehicle for an aging, yet celebrated, performer who overacts at every opportunity.

Fortunately in Rosemary Cline, there lurks the heart of just such a player. She inhabits the part of Judith Bliss—as well as some great outfits—with verve galore. Not only is her emoting of the lines flawless, Ms. Cline’s superb physicality conveying predatory charm is, ah … pure bliss. I went away trying to imitate Ms. Cline’s expressive arm movements in front of a mirror the next morning. Failed.

The story is not much of a story, really: wacky, highly emo family of writer (husband) and actress (as above) with son, who sketches, and daughter, who is a flibbertigibbet in search of a mate, invite various weekend guests to their chaotic home in the country.

For Judith Bliss, that is a strapping young man (portrayed by Anthony Famulari) hoping for possible nookie; for husband David (well played by Andrew Botsford), that is an unsuspecting blonde groupie (Amanda Griemsmann) with whom he has the same in mind as the strapping young man; for son Simon (Bobby Peterson), that is an attractive woman (Jane Cortney) who has her sights set on his father; and for daughter Sorel (Gabriella Campagna), her guest is an older and well-traveled “diplomatist” (Matthew Conlon).

Combine all with Clara (Diana Marbury), the plain-speaking English maid used to the peculiarities of her employers, hoping the guests don’t break the Royal Crown Derby.

Add extravagant English accent.

Stir well—by Ms. Marbury, who also directed.

A silly parlor game gives the actors further chances to overact, the smallest suggestions of affection are wildly exaggerated by the family members, and everyone but the maid pairs up with someone else before it’s time for bed and the second act ends.

Come morning and the third act, the guests are wondering what in the hell just happened, and how soon can they get out of here? They escape while the self-absorbed family goes about its constant mayhem that is considered normal to them.

The end.

The combination of ingredients works well enough, though the machinations of the characters are predictable and the writing overall lacks the sly wit one longs for to carry such a slim vehicle. Sorry, Mr. Coward.

The play was apparently based on a egocentric, theatrical American family Mr. Coward met when he came to the United States in 1921. He wrote the play three years later for the great British star, Marie Tempest, a favorite of his. She thought the play too slight for a whole evening of theater. That is, until Coward became the darling of sophisticated, upper-crust Brits with “The Vortex,” a play dripping with innuendo about homosexuality and drugs—always a sure winner across the pond.

Mr. Conlon is his usual excellent self as a worldly “diplomatist”—diplomat to us—and he and Mr. Botsford hit the right note with the British inflection. At times, the women play their accents too affectedly and speak too rapidly, thus whole chunks of dialogue become gibberish before they reach the audience. However, the exaggerated body language of the actors leaves no doubt about the meaning of the tomfoolery and saves the scene.

The 1920s drawing room set is spot on, as one has come to expect from this troupe. The period costumes? Oh la la! Just divine, darling, down to the hair styling. Ms. Marbury and costume designer Teresa Lebrun are to be applauded for those fab flapper outfits—especially for that fluffy white shrug Ms. Cline prances about in.

Hampton Theatre Company will stage “Hay Fever” on Thursdays and Fridays at 7 p.m., Saturdays at 8 p.m., and Sundays at 2:30 p.m., through June 7, at Quogue Community Hall. Tickets are $25, $23 for seniors, except Saturdays, and $10 for students under age 21. For more information, call (631) 653-8955, or visit hamptontheatre.org.