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...
People are relieved to be home but face having to rebuild lives among destroyed homes and villages
Before the ceasefire had even come into effect, Zeinab and Dina were already driving south. The two sisters had been forced to flee to Tripoli, northern Lebanon, for 64 days – they had counted – and they could not bear another day without seeing home.
“We were laughing and crying at the same time when we heard the news of the ceasefire. We were packing our stuff and still we didn’t believe it was happening, it was like a dream,” said Zeinab, 28, a resident of the town of Zibqeen in south Lebanon.
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