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...
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Coco Gauff arrived in New York this month carrying significant unwanted baggage. Although her summer had not started badly at all, it had descended into disappointment with a slew of dispiriting losses in significant tournaments. In stark contrast to her circumstances last year, when she capped off the best run of her life with her first grand slam title, the American returned to the US Open still searching for her best.
In front of a rocking crowd in Arthur Ashe Stadium, Gauff took a positive step forward as she drew on her resilience and problem-solving abilities after a testing start, recovering from a set down to reach the fourth round with a strong 3-6, 6-3, 6-3 win over Elina Svitolina.
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