Tag: “Noises Off”

Review: Noises Off – Cape Playhouse

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Cast of ‘Noises Off’ at Cape Playhouse (Photos: Emma Quinn)

by Kobi Kassal

Curtain up for Noises Off, now playing at the Cape Playhouse until August 17th. The 93-year-old theater has once again produced an exhilarating production that proves to be a masterclass in comedy on Cape Cod.

Esteemed playwright Michael Frayn wrote his farce-within-a-farce in 1982 and New York Times critic Frank Rich once declared it, “the funniest play written in my lifetime”. No wonder this show has been produced three times on Broadway in its 37 year history; not to mention numerous productions around the world. Frayn’s intricate story tells the tale of the play “Nothing On” that the audience witnesses three different productions of during the course of the show. Act I shows the final dress rehearsal of the show; Act II flips the set showing the audience the show from backstage; and Act III features the final performance of their touring production. Directing this behemoth of a play is no easy feat, not to mention doing it in 2 weeks, so kudos to Jeffrey Denman for doing a first-rate job.

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“Noises Off”, URI Theatre

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Reviewed by Tony Annicone

 

The second show of URI’s season is “Noises Off”, a 1982 play by Michael Frayn. The idea for it was born in 1970 when Frayn was standing in the wings watching a performance of “Chinamen”, a farce he had written for Lynn Redgrave. According to Frayn, “It was funnier from behind then in front” and vowed to write a farce from behind. The term “noises off” refers to sounds that occur offstage. Frayn plays on the concept of a play within a play, in this case a play called “Nothing On” in which a young girl runs around in her underwear, men drop their trousers, and many doors continually open and shut. Each of the three acts contain a performance of the first act of the play within a play. Act 1 is set at the dress rehearsal, the night before opening with the cast still fumbling for entrances and exits, missed cues. misspoken lines and bothersome props, most notably several plates of sardines. Act 2 is seen from backstage, providing a view that reveals the deteriorating personal relationships of the cast that lead to offstage shenanigans and onstage bedlam. Act 3 is the end of their 10 week run where personal friction has increased and everyone is anxious for the show to be done with. They attempt to cover up a series of mishaps but end up compounding the problems and draw attention to the bungling performance. The slapstick in the latter two acts is hilarious and where the strength of this script lies. Director Christopher Simpson chose the nine best performers for each of these roles and infuses the farcical elements needed to leave the audience in stitches all evening long.

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