HAY FEVER at Lyric Rep: Don’t sneeze at classic comedy

LOGAN — I have long been a fan of the Lyric Rep Theatre Company, having seen and reviewed many of their summer productions over the years. I appreciate that they are dedicated to bringing dialogue plays and underappreciated musicals to the Utah stage in an oversaturated market of repeat summer musicals. This theatre company always assembles a stellar production team and some of the best actors in Utah for their summer seasons. The drive to Logan has never disappointed me and has always been worth it. I anticipated seeing Hay Fever directed by Paul Mitri and written by Noel Coward, one of the great comedic and satirical playwrights of the 20th century.

Hay Fever is set in the 1920s with Judith and David Bliss and their children Sorel and Simon staying at the Bliss residence. Each unknowingly invites a guest to join them on a weekend retreat where the Bliss’ eccentric behaviors lead to an unfolding farcical comedy of manners.

Upon entering the Morgan Theater on the campus of Utah State University, the set delighted me immediately. Scenic Designer Michelle A. Bisbee did a masterful job establishing the action’s time and place. We knew immediately where we were: a beautiful yet aging Victorian home, filled with an eclectic collection of furnishings, mismatched chairs, unusual curios and décor, statues, stuffed hunting trophies, a dozen or more rugs overlapping the floor pell-mell, random detritus that spoke of an adventurous, unusual life and lifestyle. There was even a portrait of a glamorous young woman in a vintage-looking costume that hinted toward our leading lady and her personality.

Likewise, costume designer Nancy Hills knocked it out of the park with her insight into the various characters through their wardrobe. Young Sorel is dressed in mismatched jaunty knickers and a sweater. Brother Simon uses a school tie as a belt for his oversized trousers, yet neglects shoes. The lovely leading lady Judith Bliss wears a delicate pink drop-waisted frock, worn with clunky gardening boots which she hops in and out of in favor of garishly red house slippers. They created a perfect foil for their ‘normal’ guests who arrived throughout the first act, clearly demonstrating that this was not your usual English Country family. Even their evening gowns showed lots of personality and individuality, perfectly enrobing each character, from Sorel’s flamenco-inspired frock to Judith’s flowing floral applique dream. All the elements were lovely and lovingly coordinated to showcase the eccentric family and Coward’s script.

Lighting (Joshua Roberts), props (Allison Liljenquist), and sound (Korey Kristofer Lamb) were all layered beautifully to create the appropriate mise en scene, without any glaring irregularities.

The actors were lovely and fully committed to their roles. Leslie Brott, whom I have seen in numerous roles at the Utah Shakespeare Festival in Cedar City over many years, was brilliant as Judith Bliss, a role not offered often, and would be on many actresses’ bucket list. Brott’s skill and talent were sparkling. Bliss children Sorel played by Marin Robison and Simon played by Jonathan Kaplan were likewise committed and quirky to the roles, although a tad more difficult to understand, perhaps due to a heavy hand with the British accents. Jonathan Kaplan paid homage to Andrew Scott’s performance in Present Laughter (another Coward classic) in character with Kaplan’s physicality and vocal choices. Sydnee Fullmer as Myra Arundel and Lance Rasmussen as Richard Greatham gave similarly charming and memorable performances. Rasmussen especially uses the ‘pregnant pause’ to effectively communicate awkwardness. Mia Gatherum was charming as Jackie Coryton but read more as a naïve Miss Dorothy (Thoroughly Modern Millie) than a potential vamp. Ariana Whatcott was a breath of fresh air as the aggrieved and put-upon housekeeper/cook Clara, although a little more angry than indulgent as the long-time former dresser of Judith Bliss might be.

There were so many wonderful elements in this production, that the show’s pace stood out as a weakness. The show is lengthy and the pacing dragged, rather than lightly skipping through the scenes. The jokes and repartee landed heavily at times, especially in the third act.  The act felt it should be a quick wrap-up instead of another lengthy illustration of the odd Bliss Family. I suspect that it had partly to do with the style of writing from 100 years ago, and partly to do with the direction.

Noel Coward wrote a silly play that doesn’t really have a plot, and Paul Mitri has every tool creating a gem which fails to reach optimum sparkle. That being said, Hay Fever is a delightful, well-done production and a look back at a definitive play from an iconic playwright. It’s worth the drive to Logan to see the nostalgic tribute to classic comedy.