Cara Dickinson

Noises Off at the Village Playbox

Director Valerie Brothers explained to me that farces are “a lot of hard work” following a run of The Fox on the Fairway. The Village Playbox proved just how incisive Ms. Brothers was. I attended the February 8th performance of Noises Off. John Blackwell directed this rendition of Michael Frayn’s comical take on the theatre business.

Noises Off reminded me a bit of the film This is Spinal Tap. Like the fictitious rock band, Mr. Frayn’s made-up theatre company just couldn’t seem to execute any task properly.

The show told the story of a travelling theatre troupe in their quest to perform a comical play called Nothing On. As the tour wore on, this lighthearted comedy became a serious drama: backstage. Increasingly that drama started making its way into the main production. While the patrons attending Nothing On may not have been impressed, the audience for Noises Off was delighted.

As witty as I found the show, the set made for the most memorable aspect of Noises Off. Watching the crew make the adjustments to the set entertained me as much as the show itself. The performance contained three acts. Acts I and III featured the set of the play-within-a-play: the living room of the Brent’s country home. For Act II, the crew converted the set into the backstage of the theatre. Somehow the crew changed the stage into the second set in less than 15 minutes during the first intermission. During the second intermission, they transformed the stage back to the original setting from Act I.

After the show, Mr. Blackwell told me, “I didn’t think we could do it.” He and the crew deserve great accolades for this accomplishment. Producer Rob Kristie, Assistant Director Steve Allen, Stage Manager/Line Director Ariel Golan, Erin Gallagher on stage crew, and set constructor Gary Kochey along with the cast members who helped move everything around all did a phenomenal job completing this difficult task.

There’s an old adage that “in comedy, timing is everything.” In conjunction with the set changes, the cast members performed an extraordinary job with their timing. Each act of Noises Off entailed the performers acting out the same material from Act I of Nothing On. When the actors did so in Act II they delivered their lines from off stage most of the time. The audience could only see the events occurring backstage. Mr. Blackwell coordinated and the cast fulfilled these challenging maneuvers flawlessly. In Act III when the tempers flared, the Nothing On cast forgot their lines and production fell apart, the performers still remained in-synch.

Esteemed actress and director Lisa Croce once told me that she “keeps her drama on the stage.” The characters in Noises Off would have been well advised to take Ms. Croce’s advice.

I often compliment directors for selecting the right performers to fit the show’s roles. I would make the same observation about Mr. Blackwell for this one. The same could not be said regarding the fictitious director, Lloyd (played by Chal Gallagher). Lloyd’s casting choices did reflect the quality of his judgement, however. During the run, he dated both Stage Manager Poppy (played by Ashley Bianchimano) and female lead Brooke (Haley Melvin).

The conflicts didn’t end there. Garry, the male lead, (Scott Partenheimer) and Dotty (Phyllis Josephson) engaged in a troubled love affair of their own. Frederick (D. Michael Farley) had a propensity for nose bleeds and lightheadedness. Selsdon (Tom Lorenz) was a chronic alcoholic. Belinda (Cara Dickinson) had a sarcastic way of ending sentences with either the words “my love” or “my sweet.” Stage Manager and male understudy, Tim (Evan Hairston), took the brunt of the director’s frustration with the cast.

Not an ideal situation for a group presenting a theatrical production. Witnessing their antics did make for a very entertaining evening for theatregoers, however.

Due to the complexity of the musical routines in Rent, I wondered if Jonathan Larsen hated actors. Because of the physical demands of Noises Off, I wonder if Mr. Frayn had his own issues with them.

Noises Off included a lot of slapstick. Scott Partenheimer delivered a masterful comedic display. He performed physical comedy reminiscent of the great Tim Conway. Mr. Partenheimer fell down a flight of stairs, slipped on a sardine falling on his back and even hopped around the stage with both his shoelaces tied together.

Michael Farley also displayed some stellar dexterity. He maintained his balance while hopping around the stage with his pants around his ankles.

Phyllis Josephson showed her skill at physical comedy as well. Ms. Josephson walked the entire length of the stage with a telephone wire caught around her ankle.

I doubt the playwright intended this, but I’d pay tribute to the cast members who met the unique environmental challenge this performance presented. Chal Gallagher, Tom Lorenz, D. Michael Farley and Haley Melvin all performed scenes in their underwear. While this type of costuming is a boon for producers, it can challenge actors; especially on a winter evening in South Jersey with the temperature in the 30s. One has to respect these performers’ dedication to their craft.

Noises Off also included some memorable performances. It seemed as though Mr. Partenheimer and Ms. Melvin competed to determine whose character could overact more.

It was also a pleasure to watch Phyllis Josephson play a role I didn’t think she would be capable of playing: that of a bad actress. She did so wonderfully. That’s a true testament to her skill as a performer.

Comedy can be serious business. Noises Off showed it. The multifarious antics involving so many performers made them difficult to absorb in one viewing. As with Spinal Tap, I feel like if I watched Noises Off a dozen times, I’d still catch things I hadn’t noticed before.

It’s doubtful this cast and crew will take Noises Off on the road to Trenton, Harrisburg and Akron. The Village Playbox will present it through February 16th.

Rock of Ages at Haddonfield Plays and Players

When narrator Lonny described the action in Rock of Ages as taking place during “the Reagan Era” my face scrunched. Whatchu talkin’ ‘bout, Lonnie? I thought. My entire memory of that period consists of spending the summer watching the Iran-Contra Hearings. I hoped I wouldn’t start wiggin’ out in the theatre. Then I took a chill pill. I realized that I live in a time when people in government “just say no” to engaging in illegal deals with a hostile foreign power. Theatre goers should feel even more stoked that Haddonfield Plays and Players opted to bring back the era’s best attribute fer sure: the gnarly music. They delivered some schweet renditions in Rock of Ages when I attended the mahvelous performance on July 22, 2017.

The show featured a most fresh premise. Author Christopher D’Arienzo re-worked the old small-town girl goes to Hollywood concept. He crafted the musical in a way so that host of hit songs from the 1980s delivered the 411.

The dancers in this show earned my respect fast; and continued to earn it throughout the entire performance. La’Nise Ambrose did monumental work in coordinating the moves. I give immense credit to dudettes Audrey DiEnno, Katharina Munoz, Tiara Nock and Nicolette Palombo. They kept up the same level of intensity the entire evening; and the show required a lot of intensity to maintain.

The high tech production quality impressed me. Rock of Ages featured a live band and a big screen. Combined with the singing and dancing, it made for a complex show. Director Ed Doyle did an extraordinary job coordinating all these facets.

Anyone interested in the popular music of the 1980s MUST see this show. As a fan of the era’s tunes, I got stoked to hear the rock-o-rama presented in this type of forum. The quality of singing enhanced the tracks much more than I’d expected. How much better these songs sounded when performed by the cast surprised me.

Few would dispute Lou Gramm delivered outstanding vocals during Foreigner’s prime. Performers Michael Robert Anderson and Dana Masterman made him sound dag. They sang one of the best duets I’ve ever heard on “Waiting for a Girl Like You.” They combined with Vinnie DiFillipo to deliver a passionate “I Want to Know What Love Is.”

Mr. Anderson and Ms. Masterman weren’t the only performers who delivered memorable duets. Ed “Rico” Santiago and Aaron Blake combined their skills for a comical rendition of REO Speedwagon’s “I Can’t Fight This Feelin’.”I liked the way they managed to sing this tender ballad in their characters’ voices.

Dana Masterman turned in a totally ace performance. While an extremely gifted vocalist, she possesses boss skills for non-verbal communication. This performer’s smiling and upbeat facial expressions reflected those of an idealistic young woman. As the show progressed, Ms. Masterman deftly conveyed disillusion over her character’s romantic problems and career failures. Her shibby inability to quite master pole dancing got laughs, as well.

After hearing Michael Robert Anderson croon these 80s classics, fans would gag on a spoon listening to the originals. Mr. Anderson sang so remarkably well that I had trouble imagining a struggling musician could have such talent. Still, he acted the role of Drew very convincingly. He sustained a high note on “Oh, Sherrie” without vibrato. Singers in 80s cover bands would be well served to study his technique.

The show contained a large cast. No one person could bogart all the accolades. The posse worked very well together and complimented one another’s talents to the max.

Holly Birch Knapp’s performance as the radical Reginia was, well, radical. She displayed exceptional passion leading the “We’re Not Gonna Take It” number.

Vinnie DiFillipo showed fantastic comedy prowess as the randy rock star. Monette Solomon delivered outstanding vocals on “Anyway You Want It” and “Shadows of the Night.” I applaud Bill Zeoli and David Fusco for the ability to sing with authentic German accents. I’d also compliment performers Armando Mendez, Trisha Dennis, Jenn Kopesky-Doyle, Faith McCleery, Jenni Pines, Amanda Frederick, Cara Dickinson, Shannon McClernan and Jeremy Noto for their contributions to the ensemble.

I also enjoyed hearing the live band under Mark Kozachyn’s direction. Eric Madden shred his guitar like a true 80s axe-man.

“So what’s your damage with this production?” You may ask. I found it grody that Antonio Baldasari didn’t have more stage time as Aresenal’s new lead singer. The man possesses a genius for comedy. If Mr. Baldasari stood in front of an audience reading the phone book he’d find a way to make people laugh. In his limited scenes, he still amused the audience.

Rock of Ages reminded me that the 80s contained some choice music. I’m not being bogus when I write that that the cast and crew presented one tubular production. I’ve fallen for this show and I can’t get up. Cowabunga! Grab the Bartles and Jaymes and jet to the theatre. Where’s the beef? It’s totally happening at Haddonfield Plays and Players until August 4th.