| ||||||||||||||||||||||||||||||||||||
 Trade In this Item for up to £0.25
Get an extra £5 when you trade in books worth £10 or more until June 30, 2012. Trade in Hay Fever (Acting Edition) for an Amazon.co.uk gift card of up to £0.25, which you can then spend on millions of items across the site. Trade-in values may vary (terms apply). Find more products eligible for trade-in.
|
Frequently Bought Together
Product details
|
More About the Author
Suggested Tags from Similar Products(What's this?)Be the first one to add a relevant tag (keyword that's strongly related to this product)
|
Sell a Digital Version of This Book in the Kindle Store
If you are a publisher or author and hold the digital rights to a book, you can sell a digital version of it in our Kindle Store.
Learn more
What Other Items Do Customers Buy After Viewing This Item?
Customer Reviews
Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Paperback
Written when Coward was only twenty-four, and produced shortly after, in 1925, Hay Fever is a broad, manic farce which takes place in the country house of a self-absorbed, artistic family. The Blisses, each of whom is creative and spontaneous, ignore the stultifying conventions of society--Judith, an extravagant stage actress, who pursues her own whims whenever it pleases her; her husband David, an author, who enjoys his own spotlight and camp-followers; and their adult children, Simon and Sorel. When Sorel announces that she has invited a weekend guest and would like to be able to use "the Japanese room," she quickly discovers that each of the other family members has also invited a guest for "the Japanese room."
In the course of the weekend, all the guests--conventional people attracted by the exciting lives these non-conformists have created for themselves--find themselves at the mercy of their more confident and assertive hosts. Guests who arrive thinking themselves in love with one person find themselves unexpectedly engaged to marry someone else. No one listens to them, no one recognizes them as individuals, and no one cares about their dashed expectations. As the Bliss family controls the activity during the weekend, the farce borders on absurdity. Outrageous scenes and emotional confrontations, part of their "normal" lives, prove too much for their guests.
The fast-paced interaction one sees on stage constitutes the only "plot," and there are no background stories to add complexity. What you see is obvious--what Coward has intended you to see. Far less subtle than some of his later work and lacking the cynicism and clever repartee for which Coward later became known, the play nevertheless incorporates many of Coward's trademark themes--the sense of entitlement by artists (some of which, he hints, is because they really are superior), their flamboyant behavior, the casual attitudes toward marriage and sex, their egotism and insensitivity to "ordinary" people, along with their sense of fun as they pursue their own pleasure.
These themes are all set into sharp relief by the behavior and attitudes of the guests, who gain no audience sympathy for their predicaments because they are decidedly dull. Though some believe that this is one of Coward's best plays, others will prefer the clever repartee, wit, and irony of the later plays, which tend to have a more intimate focus and smaller cast of characters. Mary Whipple
In the course of the weekend, all the guests--conventional people attracted by the exciting lives these non-conformists have created for themselves--find themselves at the mercy of their more confident and assertive hosts. Guests who arrive thinking themselves in love with one person find themselves unexpectedly engaged to marry someone else. No one listens to them, no one recognizes them as individuals, and no one cares about their dashed expectations. As the Bliss family controls the activity during the weekend, the farce borders on absurdity. Outrageous scenes and emotional confrontations, part of their "normal" lives, prove too much for their guests.
The fast-paced interaction one sees on stage constitutes the only "plot," and there are no background stories to add complexity. What you see is obvious--what Coward has intended you to see. Far less subtle than some of his later work and lacking the cynicism and clever repartee for which Coward later became known, the play nevertheless incorporates many of Coward's trademark themes--the sense of entitlement by artists (some of which, he hints, is because they really are superior), their flamboyant behavior, the casual attitudes toward marriage and sex, their egotism and insensitivity to "ordinary" people, along with their sense of fun as they pursue their own pleasure.
These themes are all set into sharp relief by the behavior and attitudes of the guests, who gain no audience sympathy for their predicaments because they are decidedly dull. Though some believe that this is one of Coward's best plays, others will prefer the clever repartee, wit, and irony of the later plays, which tend to have a more intimate focus and smaller cast of characters. Mary Whipple
2 of 3 people found the following review helpful
Format:Paperback
Thanks to a recent re-reading, Hay Fever is making its way to the top spot on my ever-growing list of favourite plays. It's simply marvellous! Not only does it entertain through the unique plot and characters, it thrills the audience linguistically. The characters speak in perfectly formed quips - wordy but neatly put together.
SOREL: I should like to be a fresh, open-air girl with a passion for games.
SIMON: Thank God you're not.
SOREL: It would be so soothing.
Exchanges like this are abounding in Hay Fever. Nothing is left unsaid, the sentences are trim and the dialogue fast moving. No character is ever stuck for something to say. Thoughts are expressed bluntly and succinctly. Dialogue is never this neat, tidy and satisfying in real life, but it doesn't matter! It's beautiful and hilarious to listen to.
The Bliss family are eccentrically British. They have each invited an unsuspecting guest to stay for the weekend in their country house. There is not enough room and not enough patience! Each simply wants an adoring visitor. When the chaotic eight get together, games are attempted and polite conversation is hard to maintain. The Blisses end up swapping guests and ultimately alienating themselves completely.
This is my favourite Coward play at the moment. It beautifully illustrates the playwright's interest in egotism and self absorption, cloaked in wit and frivolity.
SOREL: I should like to be a fresh, open-air girl with a passion for games.
SIMON: Thank God you're not.
SOREL: It would be so soothing.
Exchanges like this are abounding in Hay Fever. Nothing is left unsaid, the sentences are trim and the dialogue fast moving. No character is ever stuck for something to say. Thoughts are expressed bluntly and succinctly. Dialogue is never this neat, tidy and satisfying in real life, but it doesn't matter! It's beautiful and hilarious to listen to.
The Bliss family are eccentrically British. They have each invited an unsuspecting guest to stay for the weekend in their country house. There is not enough room and not enough patience! Each simply wants an adoring visitor. When the chaotic eight get together, games are attempted and polite conversation is hard to maintain. The Blisses end up swapping guests and ultimately alienating themselves completely.
This is my favourite Coward play at the moment. It beautifully illustrates the playwright's interest in egotism and self absorption, cloaked in wit and frivolity.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
8 reviews
1 of 1 people found the following review helpful
"Do you think they know they are mad?"
2 April 2006
Format:Paperback
Written when Coward was only twenty-four, and produced shortly after, in 1925, Hay Fever is a broad, manic farce which takes place in the country house of a self-absorbed, artistic family. The Blisses, each of whom is creative and spontaneous, ignore the stultifying conventions of society--Judith, an extravagant stage actress, who pursues her own whims whenever it pleases her; her husband David, an author, who enjoys his own spotlight and camp-followers; and their adult children, Simon and Sorel. When Sorel announces that she has invited a weekend guest and would like to be able to use "the Japanese room," she quickly discovers that each of the other family members has also invited a guest for "the Japanese room."
In the course of the weekend, all the guests--conventional people attracted by the exciting lives these non-conformists have created for themselves--find themselves at the mercy of their more confident and assertive hosts. Guests who arrive thinking themselves in love with one person find themselves unexpectedly engaged to marry someone else. No one listens to them, no one recognizes them as individuals, and no one cares about their dashed expectations. As the Bliss family controls the activity during the weekend, the farce borders on absurdity. Outrageous scenes and emotional confrontations, part of their "normal" lives, prove too much for their guests.
The fast-paced interaction one sees on stage constitutes the only "plot," and there are no background stories to add complexity. What you see is obvious--what Coward has intended you to see. Far less subtle than some of his later work and lacking the cynicism and clever repartee for which Coward later became known, the play nevertheless incorporates many of Coward's trademark themes--the sense of entitlement by artists (some of which, he hints, is because they really are superior), their flamboyant behavior, the casual attitudes toward marriage and sex, their egotism and insensitivity to "ordinary" people, along with their sense of fun as they pursue their own pleasure.
These themes are all set into sharp relief by the behavior and attitudes of the guests, who gain no audience sympathy for their predicaments because they are decidedly dull. Though some believe that this is one of Coward's best plays, others will prefer the clever repartee, wit, and irony of the later plays, which tend to have a more intimate focus and smaller cast of characters. n Mary Whipple
In the course of the weekend, all the guests--conventional people attracted by the exciting lives these non-conformists have created for themselves--find themselves at the mercy of their more confident and assertive hosts. Guests who arrive thinking themselves in love with one person find themselves unexpectedly engaged to marry someone else. No one listens to them, no one recognizes them as individuals, and no one cares about their dashed expectations. As the Bliss family controls the activity during the weekend, the farce borders on absurdity. Outrageous scenes and emotional confrontations, part of their "normal" lives, prove too much for their guests.
The fast-paced interaction one sees on stage constitutes the only "plot," and there are no background stories to add complexity. What you see is obvious--what Coward has intended you to see. Far less subtle than some of his later work and lacking the cynicism and clever repartee for which Coward later became known, the play nevertheless incorporates many of Coward's trademark themes--the sense of entitlement by artists (some of which, he hints, is because they really are superior), their flamboyant behavior, the casual attitudes toward marriage and sex, their egotism and insensitivity to "ordinary" people, along with their sense of fun as they pursue their own pleasure.
These themes are all set into sharp relief by the behavior and attitudes of the guests, who gain no audience sympathy for their predicaments because they are decidedly dull. Though some believe that this is one of Coward's best plays, others will prefer the clever repartee, wit, and irony of the later plays, which tend to have a more intimate focus and smaller cast of characters. n Mary Whipple
1 of 1 people found the following review helpful
Noel Coward's First Great Comic Success
19 Jan 2005
Format:Paperback
Noel Coward (1899-1973) is best recalled for his sparkling yet acid-etched comedies, and the 1925 HAY FEVER is among the best, easily ranking alongside such titles as BLITHE SPIRIT, DESIGN FOR LIVING, and PRIVATE LIVES. Among his earlier successes, Coward received inspiration for the play when he visited the home of the great American actress Laurelette Taylor--and found both her and her family shockingly eccentric in an unexpectedly theatrical way.
Unlike most other Coward scripts, HAY FEVER relies less on plot and Coward's talent for sharp wit than it does upon character. Judith, directly based on Laurelette Taylor, is the lynchpin of the piece: recently retired from the stage, she is an intensely theatrical woman who enjoys dramatizing her life. She has invited a much younger man to be a weekend guest, never dreaming that her husband David, son Simon, and daughter Sorrel have each invited a guest as well.
The four guests soon discover that the maid is down with a toothache, there aren't enough rooms, and there is scarcely enough food to go around. To make matters worse, Judith plays every scene that presents itself. It is a habit in which she is not alone; her novelist husband and their two children are every bit as adept at theatrical hysteria as she, and before the weekend concludes the guests are treated to astonshing exhibitions that alternately annoy, confuse, and frighten them out of their wits.
Plays are written to be performed, not read, and HAY FEVER is a good example of the difficulties that can arise when a non-theatre person tries to visualize how it would be on the stage. On the page, it reads as clever and amusing, but only mildly so; on the stage, however, it is easily one of the most hilarious comedies of the 20th Century. Recommended for those who have the imagination required!
GFT, Amazon Reviewer
Unlike most other Coward scripts, HAY FEVER relies less on plot and Coward's talent for sharp wit than it does upon character. Judith, directly based on Laurelette Taylor, is the lynchpin of the piece: recently retired from the stage, she is an intensely theatrical woman who enjoys dramatizing her life. She has invited a much younger man to be a weekend guest, never dreaming that her husband David, son Simon, and daughter Sorrel have each invited a guest as well.
The four guests soon discover that the maid is down with a toothache, there aren't enough rooms, and there is scarcely enough food to go around. To make matters worse, Judith plays every scene that presents itself. It is a habit in which she is not alone; her novelist husband and their two children are every bit as adept at theatrical hysteria as she, and before the weekend concludes the guests are treated to astonshing exhibitions that alternately annoy, confuse, and frighten them out of their wits.
Plays are written to be performed, not read, and HAY FEVER is a good example of the difficulties that can arise when a non-theatre person tries to visualize how it would be on the stage. On the page, it reads as clever and amusing, but only mildly so; on the stage, however, it is easily one of the most hilarious comedies of the 20th Century. Recommended for those who have the imagination required!
GFT, Amazon Reviewer
Hay Fever audio
1 Jun 2012
Format:Audio Cassette|Amazon Verified Purchase
I haven't played this yet but it arrived in good condition thanks. It's a great play and I enjoy most of Noel Coward. Again I was learning the play so wanted to have a cassette series on hand.
Were these reviews helpful?
Let us know
Listmania!
Look for similar items by category
Look for similar items by subject
Feedback
- Would you like to update product info or give feedback on images?
- I am the Author, and I want to comment on my book.
- I am the Publisher, and I want to comment on this book.
|
