cinema grew into potent cultural and political forces. Pre-war, Britain's silent film industry thrived, boasting six hundred cinemas in Greater London by 1913. Post-war, Hollywood's influence loomed large, producing lavish spectacles likeBen Hur (1926) and elevating stars such as British-born Charlie Chaplin to worldwide fame.

The dawn of American radio broadcasts in 1920, followed by Britain's in 1922, heralded an age of mass communication. Between the world wars, cinema, radio, and microphones became instruments of power, wielded by fascist and communist regimes to sway public opinion. Propaganda films and grand public gatherings inspired reverence akin to that for movie stars.

Such transformations fueled both hope and fear, vividly captured by the era's artists. Modern writers of the 1920s, including Americans F. Scott Fitzgerald (The Great Gatsby) and Ernest Hemingway (For Whom the Bell Tolls), and Britons James Joyce (Ulysses) and Virginia Woolf (To the Lighthouse), shattered conventional novel forms, delving into introspective narratives and the alienation of the post-war generation. Visual artists like Wassily Kandinsky, Paul Klee, Henri Matisse, and Pablo Picasso embraced novel techniques, pioneering abstraction and cubism, reshaping the visual arts landscape.

Simultaneously, aesthetic movements such as Art Deco flourished, weaving a vibrant tapestry across the 1920s. This style, popular in furniture, clothing, and architecture, welcomed the future with its bold embrace of modern materials and innovative designs. Echoing this optimistic spirit, the melodies of composers like Aaron Copland and George Gershwin resonated with a similarly positive tone.

Despite the era being christened the "Jazz Age" by Fitzgerald and labeled the "Age of Anxiety" by W. H. Auden—an era characterized by a profound skepticism towards society—the period’s remarkable creative outpouring stands as a testament to an enduring belief in the transformative power of art.

Dialogue
Noël Coward emerged as a trailblazer among playwrights of his era by crafting dialogue that echoed the rhythms of real-life speech. Where predecessors favored intricate, quotable epigrams, Coward opted for the authenticity of everyday conversation. His characters interact with a charisma that captivates audiences, relying on situational humor rather than poetic wit. Though theatergoers may not depart quoting lines, they certainly chuckle heartily at the cleverly orchestrated antics on stage.

Comedy of Manners
The charm of a comedy of manners lies in its focus on societal interactions and witty exchanges, eschewing elaborate plots for lively dialogue. Both Jane Austen's novels and Oscar Wilde's plays fit snugly within this genre. Hay Fever stands as a sophisticated, irreverent nod to this comedic style, unfolding a tapestry of amusing scenarios within an upper-class household.

FarceHay Fever embraces the vibrant chaos of farce, where exaggerated personalities find themselves ensnared in implausible scenarios, engaging in verbal gymnastics and slapstick to elicit laughter. While Coward infuses his play with more social commentary than a typical farce, he still delights in comedic wordplay and vividly drawn characters.

Irony
The Bliss family’s humorous quips abound with dramatic irony, a form of wit that hinges on the audience's awareness of truths hidden from the characters. For instance, when David Bliss, who accepts his family’s peculiar ways and exhibits his own eccentricities, remarks on his guests’ discreet exit: "People really do behave in the most extraordinary manner these days," the audience chuckles at his unwitting self-description.

Juxtaposition
Coward deftly contrasts the carefree, unconventional Bliss family with their tense, tradition-bound visitors. Each character pairing draws laughter from the stark differences between the Blisses’ impulsive self-absorption and their guests’ bewildered formality. These clashing personalities, and the expectations they bring, fuel much of the play's humor.

Pace
The vibrancy of a Coward comedy unfolds at a brisk pace, demanding a lively tempo in its delivery. The humor and impact in Hay Fever are amplified through rapid-fire dialogue—a precursor to the rhythmic speed that would characterize plays by late-twentieth-century playwrights like David Mamet.

Romantic Comedy
Coward delights in subverting the audience’s expectations of romantic comedy tropes, which usually follow a love story teeming with obstacles leading to a blissful ending. As Hay Fever begins, viewers might foresee mismatched lovers finding their way to harmonious pairings. Yet, Coward cleverly undermines these clichés, poking fun at tales of illicit romance and unfaithful partners, leaving the Bliss family unchanged by the play’s close.

Satire
Satire, a playful critique of societal norms, finds a home in both literature and drama. Hay Fever presents a lighthearted mockery of pretentious bohemian artists and their conventional admirers, skewering the "cult of personality" where celebrity elevates individuals beyond social reproach. This satire gently exposes the absurdity of our fascination with fame and the indulgence of egotistical behavior simply because of notoriety.

The Literary Canvas of 1925

1925: As the modernist movement in literature reaches its zenith, a plethora of books destined for classic status make their debut. Among these are the profound narratives of Theodore Dreiser’s An American Tragedy, Willa Cather’s introspective The Professor’s House, and the haunting verses of T. S. Eliot’s The Hollow Men. F. Scott Fitzgerald enchants readers with the tragic elegance of The Great Gatsby, while Ernest Hemingway introduces the raw vitality of his debut, In Our Time. Gertrude Stein’s bold narrative experiment, The Making of Americans, and Virginia Woolf’s stream-of-consciousness masterpiece, Mrs. Dalloway, further enrich the literary landscape. The esteemed Pulitzer Prize for fiction crowns Edna Ferber for her evocative novel So Big.

Contemporary Literary Triumphs

Today: In the realm of contemporary literature, British and American authors continue to garner acclaim. Alice McDermott’s poignant tale of lost love and familial secrets, Charming Billy, captures the National Book Award. Ian McEwan’s intricate narrative of personal and public downfall, Amsterdam, claims the prestigious Booker Prize. Philip Roth's American Pastoral, a profound exploration of generational conflict set against the backdrop of the 1960s, is awarded the Pulitzer Prize for fiction. Meanwhile, Rafi Zabor delights with The Bear Comes Home, a whimsical adventure featuring a saxophone-playing bear, earning the PEN/Faulkner Award for fiction.

Dance Through the Decades

1925: The Charleston, a vivacious dance characterized by its lively, syncopated rhythm and energetic partner moves, captivates the world. Born in Charleston, South Carolina, its infectious steps swiftly leap across continents, becoming the very emblem of the effervescent Jazz Age alongside the daring flappers.

Today: After a long reign of rock and rap, swing music and dance experience a vibrant resurgence across America and Europe. Youthful energy embraces partner dancing once more, with the lindy-hop—a dynamic evolution of the Charleston from the 1930s—enjoying newfound popularity. The revival sweeps into mainstream music, as modern renditions of big band swing tunes climb the charts.

The "Dumb Blonde" Trope

1925: Anita Loos unveils Gentlemen Prefer Blondes, a novel whose protagonist, Lorelei Lee, becomes the archetype of the "dumb blonde"—a stereotype destined to echo in literature and cinema throughout the 20th century. As the years unfold, Marilyn Monroe will come to epitomize this caricature.

Today: Revisiting this theme, Tom DiCillo’s 1998 indie film The Real Blonde, starring Matthew Modine, Daryl Hannah, and Catherine Keener, offers a sharp, humorous critique of societal ideals of beauty and the "dumb blonde" image. While largely discarded by modern culture, this stereotype still occasionally surfaces.

Trailblazing Women in Politics

1925: Nellie Tayloe Ross makes history as the first woman elected governor of Wyoming, breaking new ground in U.S. politics. This same year marks the birth of Margaret Thatcher, who will later rise to become Britain's first female Prime Minister.

Today: Despite the persistent disparity between the number of female politicians and voters, women continue to ascend to influential positions. Janet Reno becomes the first female Attorney General of the United States in 1993, maintaining her role into the modern era with a tenure surpassing five years. In the same Clinton administration, Madeleine Albright steps into history as the first female Secretary of State in 1997.

A Theatrical Delight on Tape

Immerse yourself in the world of high British comedy with a captivating videorecording titled Hay Fever: A High British Comedy. Brought to life in 1995 by the creative minds at George Washington University's Department of Theatre and Dance, this college production unfolds over two VHS videocassettes, spanning an engaging 110 minutes. Under the adept direction of Nathan Garner, a talented cast comprising Carole Stover, John F. Degen, Maura Miller, Brian Coleman, Kristiana Knight, Alan Goy, Kerry Washington, Michael Laurino, and Rachel Flehinger brings this theatrical gem to life.

Adding to the collection, another mesmerizing rendition of Hay Fever graces tape number seven of the acclaimed 1989 VHS video series, presented by Seton Hill College in Greensburg, Pennsylvania.

An Audio Experience of "Hay Fever"

The charm of Hay Fever extends beyond the stage with a sound recording from a radio play adaptation, showcasing the illustrious voices of Peggy Ashcroft, Tony Britten, Millicent Martin, Julia Foster, and Maurice Denham. This auditory delight is part of the 1988 British Broadcasting Corporation Enterprises audio collection, aptly named A Noel Coward Double Bill. This treasure trove includes two analog cassettes lasting a total of 180 minutes, which also feature a sound recording of "Private Lives." Available to American audiences through the Novato, California-based distributor Mind’s Eye Co., these tapes capture the essence of Coward’s brilliance.

From the archives of Radio Yesteryear in Sandy Hook, Connecticut, comes another sound recording of Hay Fever. This version highlights the performances of Everett Sloan and Ann Burr, originally aired as a radio play on June 3, 1947. Relive the magic with its 1986 re-release as volume forty-six of the Radiobook series.

Hay Fever's Cinematic Journey

While Hay Fever has yet to grace the silver screen, Noel Coward's legacy in film is rich with adaptations. Between 1927 and 1987, the cinematic world saw at least seventeen of Coward's plays and screenplays transformed into films. Noteworthy among them is the 1946 British rendition of "Blithe Spirit," skillfully directed by David Lean. Hollywood also embraced Coward's work with a 1931 film version of "Private Lives," directed by Sidney Franklin and featuring stars Norma Shearer and Robert Montgomery. Coward himself appeared in no fewer than twelve films, including the 1931 feature "Paris—When it Sizzles" by director Richard Quine, starring the iconic Audrey Hepburn. For a comprehensive exploration of Coward's contributions to cinema, visit the complete filmography available at the Internet Movie Database, http://us.imdb.com.

Sources
Agate, James. Review of Hay Fever reprinted in Red Letter Nights, Jonathan Cape, 1944, pp. 240-42.

Barnes, Clive. ‘‘For Rosemary Harris—Love & Gesundheit!’’ in the New York Post, December 13, 1985.

Cothia, Jean. ‘‘Noel Coward’’ in her English Drama of the Early Modern Period, 1890-1940, Longman, 1996, pp. 101-02.

Coward, Noel. Introduction to Three Plays, Benn, 1925, pp. viii-ix.

Coward, Noel. Introduction to Play Parade, Vol. I, Doubleday, Doran, 1933.

Gilliatt, Penelope. ‘‘Coward Revived’’ in her Unholy Fools: Wits, Comics, Disturbers of the Peace: Film and Theater, Viking, 1973, pp. 242-43.

Innes, Christopher. ‘‘Noel Coward (1899-1973): Comedy as Social Image’’ in his Modern British Drama, 1890-1990, Cambridge University Press, 1992, pp. 238-60.

Kroll, Jack. ‘‘Serving up the Guests’’ in Newsweek, Vol. 106, no.26, December 23, 1985, p. 77.

Lahr, John. Coward the Playwright, Methuen, 1982, pp. 66-68.

Lahr, John. ‘‘The Politics of Charm’’ in Harper’s, Vol. 265, no. 1589, October, 1982, pp. 64-68.

Maugham, W. Somerset. Introduction to Bitter Sweet and Other Plays, Doubleday, 1928, pp. v-xiii.

Rich, Frank. ‘‘‘Hay Fever,’ Noel Coward Comedy’’ in the New York Times, December 13, 1985, p. C3.

Ward, A. C. Twentieth-Century English Literature 1901- 1960, Methuen University Paperbacks, 1964, pp. 131-32.

Waspe, Will. ‘‘A World Suddenly Less Gay’’ in the Spectator, March 31, 1973, pp. 399-400.

FURTHER READING
Coward, Noel. Present Indicative, Doubleday, 1937. This first volume of Coward’s autobiography covers his youth and early career up to 1931.

Hoare, Philip. Noel Coward: A Biography, University of Chicago Press, 1998. This well-researched biography of Coward offers a good balance of insight into his private life and discussion of his literary works.

Payne, Graham, with Barry Day. My Life with Noel Coward, Applause Theater Books, 1997. This memoir by Coward’s longtime companion provides both a detailed personal portrait of the playwright and excerpts from his previously unpublished writings.

Payne, Graham, and Sheidan Morley, editors. The Noel Coward Diaries, Little, Brown, 1982. Although clearly written with publication in mind, these diaries give the reader further examples of Coward’s sophisticated wit and unconventional opinions.