Wyndham’s theatre, London Grant brings shock-haired vigour as a vain novelist forced to welcome his boho children’s surprise guests in comedy of clipped social embarrassment Hay Fever, now one of Noël Coward’s best-known and most-performed works, hasn’t always been a smash hit. British critics who found its West End debut in 1925 amusing enough nevertheless noted its lack of plot, and the first Broadway production was a flop. A critic for Vogue called it “funny in places”, which sounds like the kind of stinging putdown you’d expect from the playwright’s own hand. A century of performances have proved the play’s lasting power, but its comic effect has always lain less in the words as written than their delivery – it is, after all, about a family that is “artificial to the point of lunacy”. At their centre is diva Judith Bliss, who has retired from the stage to take up the role of country hostess. When she, her husband and their self-consciously bohemian childre...
Classical pianist Simon Tedeschi established an online rapport with artist Loribelle Spirovski. But could it transcend an awkward start and a social faux pas?
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Concert pianists like me generally don’t work that well with others. We practise alone and most of the time perform alone. When you spend that much time in your own company you get quite sensitive to criticism. I am a very impatient person, obsess over tiny things and tend towards melancholia.
All this made pairing up all the trickier. I didn’t just want to “be” with someone. I sought in a relationship what I sought in art: I wanted something that made me transcend my daily concerns. I wanted someone who made me better than I am.
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