Noises Off has arrived in Nottingham as part of its 40th Anniversary tour. This seminal farce written by Michael Frayn came to birth at the Lyric back in 1982, shortly after the writer had found himself backstage during a performance of a theatrical farce by the name of ‘The Two Of Us’. It is said that Frayn was more entertained watching the antics of the cast backstage during the show than watching the show itself. And thus, the idea of Noises Off was born. The name of the play comes from the theatrical stage direction indicating those moments when sounds can be heard on stage which originate offstage, and it very much sums up the concept of the show.
The plot centres around the on and off-stage antics of the ‘Orstar’ touring theatre troupe as they stagger their way through a badly written farce entitled ‘Nothing On’. It is therefore a play within a play. Or a play about a play. Whichever you prefer! Of course, the assembled company of thespians are all slightly past their best and things inevitably go wrong. The joy comes from witnessing the spectacle of the disaster unfolding.
Incidentally, if like me, you’re a fan of The Goes Wrong Show/The Play That Goes Wrong then you’ll definitely be able to see the influence that Frayn has had on the genre. This play was arguably the godfather of such inventiveness.
The play is divided into three acts and each act centres around a performance of ‘Nothing On’. In Act One we are front of house in Weston Super Mare watching a rehearsal just hours before curtain up on opening night. Director Simon Lloyd Dallas (Simon Shepherd) is frustratedly attempting to coax a performance out of his motley and very ill prepared cast. Shepherd mainly plays these moments from the auditorium which is quite unique and actually really immersive, especially for those of us in the stalls. We really sense his barely veiled frustration. We are gradually introduced to each of the actors and their characters as the rehearsal progresses and it becomes immediately apparent that very few of them are up to the job in hand.
We first meet Dotty (Liza Goddard) who is a darling former soap actress who is by now fading out of the limelight. She can’t remember her lines but has a lot of money invested in the production so gets away with it for obvious reasons. Goddard gives us a sweet and kindly Dotty with just a hint of sadness that the light is nearly out.
Brooke Ashton (Lisa Ambalavanar) is highly strung and definitely not cut out for farce. She struggles to adapt when things go off-piste (with hilarious consequences). Ambalavanar plays her to perfection – I especially enjoy the lack of contrast between her ‘on’ and ‘off’ persona – a superbly witty performance.
Garry Lejeune (Dan Fredenburgh) is the impulsive and completely shallow leading man who is unable to finish his own sentences. Fredenburgh gives him such amazing energy and performs a magnificent feat of physical comedy – I’m exhausted just watching.
Frederick Fellowes (Simon Coates) is the old hand who is always seeking his motivation and reassurance and is never far away from a nervous breakdown. Coates gives him a gloriously hammy quality which makes him loveable and charming.
Selsdon Mowbray (Paul Bradley) is the drunk old has been who threatens to ruin every scene with his incompetence. Bradley steals every scene he is in with his brilliant determination to find the booze.
Belinda Blair (Lucy Robinson) is the most competent of them all, the ‘glue’ in the company who ultimately keeps the show on the road.
The ‘cast’ are ably assisted by their backstage team – the overworked and completely fraught Company Stage Manager Tim Allgood (Daniel Rainford) who has such a wonderful face for comedy, and unlucky in love Assistant Stage Manager Poppy Norton Taylor (Nikhita Lesler).
The very clever thing is that once we have seen the hilariously disastrous rehearsal from the front of house in Act One, Act Two takes us behind the scenes. We arrive back at our seats after the interval to discover that Simon Higlett’s magnificent set has revolved to reveal the backstage area. With the assistance of clever lighting design (Paul Pyant) we are now able to see the performance again from behind (this time a matinee in Ashton Under Lyme) which is all the funnier for having seen the terrible rehearsal. This is where the show really comes into its own and the concept is just so very clever in its simplicity. This is high farce and there are several moments where this opening night audience are shrieking and gasping with laughter as the relationships between the cast backstage completely interferes with their performances on stage.
In Act Three (yes – there is a short 5 minute interval while the set is revolved one final time) we are back out front, and witnessing the final night in Stockton On Tees. There are some absolutely fantastic and frenzied farcical moments as the madness reaches a crescendo. Particular kudos to Lucy Robinson who, as Blair, manages to ad lib the show to a suitable conclusion and spare a lot of blushes. Robinson makes this feel completely fresh and utterly believable.
I have to say that I’m always so impressed by true ensemble work on stage and farce such as this has got to be the highest form of the art. It takes a very professional cast to portray a dismal cast so successfully, not to mention a talented crew backstage ensuring that all goes wrong in the correct manner and at the correct moment. All credit to movement and fight director Ruth Cooper-Brown and director Lindsey Posner. This is a perfect piece of theatrical farce.
Catch it at the Theatre Royal Nottingham until 3rd February 2024.
