By Liz Eichler
Human Race Theatre Company’s production of Hay Fever revels in the antics of a dysfunctional—yet loving—family of creatives. Viewers of Schitt’s Creek or Arrested Development will recognize the particular chaos of a wealthy family operating by its own rules.
Noël Coward’s comedy is both farce and comedy of manners, so it’s not so much about plot–but memorable characters with wonderful lines and dialogue. Every laugh depends on strong delivery and timing, and sustaining that rhythm at breakneck speed is no small feat. The ensemble at Human Race meets the challenge impressively.
This production also carries a note of celebration. As part of Human Race Theatre’s 40th anniversary season, former resident director Robert Hetherington returns to helm Hay Fever. Hetherington, as well as many on the production team have deep connections to Wright State University Theatre, co-producer of the show. It’s like “bringing the band back together,” according to Jeff Heater, Scene Shop Supervisor.
The Hay Fever Production Team
From the moment you enter the theatre, you enter the world of the Bliss family. Joe Tilford’s set, beautifully constructed by Jeffrey Heater, evokes bohemian luxury: art crowds the walls, shawls drape nearly every surface, and a central column practically invites the actors to lounge and pose. A playable grand piano and Kelsey Gallagher’s warm, atmospheric lighting complete the picture of 1920s artistic indulgence. It’s a space that feels both lavish and chaotic—with an excess of fringe–much like the family who inhabits it.
The sharp wit and quick exchanges land cleanly, supported by Annabelle Mallard’s sound design, which ensures that even in the thrust configuration, no line is lost—important in a play where every word–and its delivery–counts.
Costumes (Eva Butcher) and props (Sarah Gomes) do significant storytelling work here, reinforcing both the family’s aesthetic and their excess. The flowing fabrics, bold silhouettes, and larger-than-life accessories suggest this family is curated for effect rather than practicality. Shawls, canes, and decorative objects aren’t just set dressing—they become extensions of the characters’ identities, tools for posing, preening, and, at times, deflecting. So many looks to love, but if I had to choose favorites is either Judith’s Act 1 ensemble–including the oversized gardening hat–or Myron’s Act 1 slacks, turtleneck and scarf. The visual world mirrors the emotional one: richly textured, slightly overwhelming, and impossible to ignore.
The Delightful Bliss Family
The play unfolds over a spring weekend in the country with the family expecting guests. Like spring itself, there’s a dichotomy between beauty and irritation—seasonal allergies included (a-choo). The setting is idyllic, but the experience for the guests quickly becomes anything but.
At the center are David and Judith Bliss. He (James Walker) is an eccentric yet successful novelist and she a retired actress. Teri Clark Linden fully commits to the role of Judith, a woman who treats every moment as a performance, demanding the spotlight. Their children, Simon and Sorel, have inherited both the artistic temperament and an alarming lack of social awareness. What follows is a cascade of flirtations, emotional theatrics, and social misfires that leave their unsuspecting guests scrambling for escape.
As Simon and Sorel, Char Adams and Skye Hodgkin are a delightful pairing. Adams pushes Simon’s dramatic impulses to their limit, embracing the character’s mercurial energy, while Hodgkin brings a self-aware charm to Sorel, who recognizes—if only vaguely—her own lack of social training. Their chemistry helps ground the play’s more absurd moments.
Jennifer Joplin’s Clara, the overburdened maid, is another standout. With the rest of the household staff conveniently absent, Clara becomes the lone voice of (somewhat) practical concern. Joplin makes the most of every moment, layering in character and comedy with every appearance and interaction.
The Unwitting Guests
Each member of the Bliss family has, unbeknownst to the others, invited a guest for the weekend—setting up a perfect storm of mismatched expectations.
Simon (Char Adams), a volatile young artist, invites Myron Arundel (Phillip Drennen almost stealing the show) an admirer—or perhaps simply someone in need of a country weekend, who finds himself witness to Simon’s theatrical emotional swings. Adams leans fully into Simon’s mercurial nature, pushing each moment to the edge, and occasionally beyond. Coward originally penned the role as a “Myra” instead of a “Myron” but this bit of creative license makes it even more interesting.
Sorel brings along a sensible diplomat (Jared Joplin as Richard Greatham) whose expectations of a quiet country weekend are swiftly dismantled. Hodgkin threads the needle nicely between poise and obliviousness.
Judith, the family’s grandly self-involved retired actress, welcomes a devoted admirer (Kieran Cronin as Sandy Tyrell)—only to pull him into her ongoing personal melodrama. David, the equally self-absorbed novelist, invites a lovely muse (Evelyn Vordtriede as Jackie Coryton) blithely ignoring the social chaos unfolding around him.
As the weekend spirals, the guests become increasingly disoriented, serving as both foils and victims of the Bliss family’s unchecked eccentricity, eventually sneaking out the door unnoticed.
Overall Laughs
Across the board, the cast demonstrates a strong command of Coward’s language and his intent to provoke laughter. The themes of this vintage piece still resonate, as society continues to explore, and sometimes deride, progressive ideas around art, personal freedom, and gender.
Hay Fever is a delightful confection—with easy to follow focus on personality and language than complicated plot. Whether you find yourself identifying with the blissfully unaware family or their increasingly desperate guests, there are plenty of laughs to enjoy. And in a season where many of us are already battling irritations large and small, a well-timed comedy is nothing to sneeze at.
Hay Fever Tickets and Information
Noël Coward’s Hay Fever runs through April 19, 2026 at Human Race Theatre Company’s Loft Theatre in Downtown Dayton. For more information and tickets to Hay Fever, CLICK HERE.
Hay Fever runs approximately two hours with an intermission.
Parking: Dayton’s theatre district is lively, with both the Schuster and Victoria theatres often hosting events. Parking remains accessible, with the Arts Garage on the corner of 2nd and Ludlow, free on street parking after 6 pm, and NEW: Valet Parking in front of Loft Theatre.
Dining: Right across the street is the new Bistecca cafe, in the newly opened Hotel Ardent. There are plenty of other dining options in the area.
Special Events:
- Sunday, April 19 – 2:00PM PARENTS’ DAY OUT • You watch the show, and they entertain the kids (ages 5-12) with a world-class theatre workshop (a $100+ value) that is free with the purchase of your tickets.
- Tuesday, April 28 – 6 – 9 PM Certified Human Night: The Birthday Bash Edition Fundraiser – 80’s themed fun, activities, silent raffle, mix and mingle to celebrate HRTC 40th Anniversary
- Click HERE for more information about Talk Backs, and special discounted performances.
