By BARBARA ROSE SHULER wordways@pacbell.net
No question, Pacific Repertory Theatre's production of "Hay Fever" belongs to Barbara Babcock.
The Emmy Award-winning actress is the radiant center and crowning glory of this Carmel version of the classic Noel Coward comedy, directed by Sid Cato.
Though she's surrounded by a capable ensemble of actors in various roles as members of the Bliss family and their harassed guests, Babcock remains matchless in her performance of Judith Bliss, the retired actress whose compulsion for theatrical scenes overwhelms her new role in life as a genteel country lady.
Babcock plays the part with the polish of a master soloist in a virtuoso concerto, ranging elegantly and effortlessly through the cascading moods, nuances and dramatic expressions of this irrepressible woman.
So thoroughly attuned is Babcock to this role and to the subtleties of Coward's style and humor, that she sets the bar exceptionally high for her fellow actors.
The rest of the ensemble was uneven in patches and seemed not yet to have reached a satisfying level of ease and finesse in the comedy, though as a whole they appeared to be moving in that direction.
Coward requires a quality of elemental naturalness in his characters no matter how broadly comical or outlandish their actions may be.
If the actors come across as pushing too hard or delivering caricatures instead of real people, brittleness can result.
Some of this was evident opening night in PRT's "Hay Fever." The delightfully soaring liftoff that can happen when everything is just right in a Coward play didn't occur, but the potential was there. With Babcock in the lead, it's likely that liftoff will come soon.
"Hay Fever" is one of Coward's comedies of bad manners. It takes place in the English countryside at the Bliss estate circa 1930.
Each member of this unconventional family has invited a weekend guest,unbeknownst to the others, with some form of amorous activity in mind.
The father is a successful novelist, son Simon is an artist and daughter Sorel strives to be "normal" but this proves impossible.
And mother Judith is profoundly enamored of striking poses and using any circumstance as a foil for her dramatic whims.
The guests arrive to find this seething nest of artistic eccentrics woefully inadequate as hosts.
The four Blisses alternately ignore or abuse their visitors yet expect to be admired and fawned over in return.
The idea for "Hay Fever," which he claims to have written in three days, was inspired by a trip Coward made to the United States where, among other things, he was a regular guest at the home of Broadway star Laurette Taylor and her family, who bear a strong resemblance to the Bliss family.
The show begins with Summer Serafin as Sorel and Rowan Brooks as Simon in a sibling tête-à-tête.
Serafin makes a bright, appealing Sorel, but she struck such a high kinetic note in the first scene that it was hard to follow what was taking place.
The audience could use a slower pace at first to feel welcomed into the quirky, and very English, Coward milieu and to get acclimatized to the rhythms and speech patterns of the play.
Brooks as Simon held his own with the brisk tempo of the comedy throughout, but might have served this role better with sharper character definition.
Michael D. Jacobs made a marvelous father Bliss, popping out from his study periodically to bluster about. Jacobs is a very funny man.
Cindy Womack as Clara, the housekeeper attached to the Bliss family, had a few amusing moments, but played the part too broadly and so missed some of the subtle potential of the role.
The guests made a colorful and engaging quartet.
Travis Brazil as Judith's swain du jour, the athletic Sandy Tyrell, was perhaps a touch overplayed, but a source of hilarious entertainment nonetheless.
Julie Hughette brought an archly sophisticated and statuesque presence to the role of the vampish seductress Myra Arundel, invited by Simon.
She cuts quite a striking figure in this production, costumed in some stunning dresses by Tandy Messenger.
Steve Slack, as the proper British diplomat who arrives as Sorel's romantic interest, provides entertainingly stiff counterpoint to the weekend chaos.
Katie O'Bryan's clueless flapper guest of papa Bliss delivers adroitly executed weeping and giggling.
The action took place on handsome sets designed by John Brady that established the drawing room atmosphere of the comedy, complete with a creatively used curving staircase and grand piano.
Messenger's captivating period costumes were a visual treat, especially the women's garments. R. J. Wofford II supplied effective, understated lighting design.
Babcock is wonderful as Coward's Judith Bliss. She's a world-class performing artist appearing in a role that suits her to perfection. The show is a hot ticket.GO!