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...
Women around me in the cinema groaned at what Amy Adams’ character had to put up with in the film – and it was nothing to do with dogs
Nightbitch is not the best film of the year. But if it becomes a cult classic, that will primarily be down to its perfect portrayal of one specific dynamic: weaponised incompetence.
In Marielle Heller’s adaptation of Rachel Yoder’s bestselling novel, Scoot McNairy embodies the “useless” husband, weaponising his incompetence to varying degrees of absurdity. Amy Adams plays the protagonist, “Mother”, who grows increasingly frustrated and angry at her husband’s idiocy, eventually transforming into a dog, complete with eight nipples.
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