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...
Attacking tyro with a martial artist’s precision is Neymar without the madness and the further maths version of Lamine Yamal’s fine art
The third great Moment of Doué was beautiful for its simplicity, 63 minutes into this game and with Paris Saint-Germain 2-0 up. As Désiré Doué glided in on goal, all alone suddenly in a wide open patch of green, he was found by a deliciously weighted through pass from Vitinha.
From there Doué allowed the ball to run across him as the retreating Inter defenders closed at his back, a perfect little screenshot of time, space, angles, ground speed allowing him to open his right instep and shoot with the path of the pass, wrong-footing Yann Sommer and easing the ball into the far corner.
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