NOISES OFF Announced At Cloverdale Playhouse

Put the cares of the world on hold for a few hours, sit back, and relish the behavior of the Cloverdale Playhouse actors as they go through three acts of hilarious laugh-a-minute antics in the ever popular sex-farce Noises Off [1982] by British playwright Michael Frayn.

Mike Winkelman serves both as director and scenic designer in this robust comedy featuring a collection of Playhouse veterans and actors appearing there for the first time. The Company includes: Sydney Burdette, Anne Gunter, Jacob Holmberg, Sarah Housley, Laura Johnstono, Kevin McCormack, Chris Paulk, Christopher Roquemore, and John Selden. --Winkelman's sure comic hand challenges the acting ensemble to discover and enthusiastically embody the assorted eccentricities of their characters. And full-house audiences are eating it up.

We watch as a mediocre English regional acting company try valiantly to mount a mediocre sex-farce called "Nothing On": during a significantly under-rehearsed pre-tour dress rehearsal in Act I, followed by Act II's run of the same scene we saw in Act I, except from backstage [watch the set change between the Acts to admire the Playhouse's stagecraft], and then we return to the Act I scene near the end of their tour where everything has run amok.

But, we are also treated to the foibles and personal relationships within the touring Company. So, we have Cloverdale Playhouse actors portraying English actors who are playing roles in a bad play. -- Don't worry; you'll figure it out [though more comprehensive program notes could help]. -- No further specific plot or character spoilers here...they might ruin the fun; and you ought to experience it for yourselves.

As farce requires split-second timing and a lot of physical commitment from the actors, we can anticipate slamming doors [there are several of them, and they don't always work], pratfalls, misplaced props, sexual innuendo, and broad characterizations to carry the load. -- And we watch as Winkelman's exquisite troupe's frustrations give way to downright sabotage and anarchy as both the production of "Nothing On" and their personal lives deteriorate around them.

Two major credits here go to Winkelman's stunning transforming set, and a remarkable ensemble of actors who individually and collectively provide a side-splitting, face-aching evening of the best entertainment around.

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