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.