Review: NOISES OFF Creates Chaotic Comedy at THE ALLEY THEATRE

NOISES OFF first appeared in London in 1982, though it had developed in some form or fashion since 1977. The story goes that playwright Michael Frayn was inspired while watching from the wings a farce in 1970 that he had written for Lynn Redgrave. He returned feeling backstage was far funnier than what was happening onstage, and thus this play was born. NOISES OFF has been reworked and rewritten many times over, including a notoriously poor film adaptation with a stellar cast in 1992 from director Peter Bogdonavich. Even comedic geniuses like Carol Burnett and John Ritter couldn’t make the script work in a celluloid format. It’s a show that belongs on a stage, and I’m reminded of it every time I see a production. It has become a “sure thing” property often produced by professional, regional, community, and even high school theaters with great regularity. And it is a treat to see the Alley’s resident company take the classic script on with such gusto as they do in this production. 

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The key to making the show work is to crank up the pace. It needs to go at 180 mph from the first to the final curtain, and NOISES OFF is a demanding physical comedy. The plot is that we see a British theatrical troop getting ready for a tour of a sex farce called NOTHING ON. As an audience, we only see Act One done three times over - first from a technical rehearsal before opening night, then mid-tour, and finally again near their last stop. Nothing ever goes right, and this is actually the original THE PLAY THAT GOES WRONG prototype.  

There are some things you should know going in to NOISES OFF if you are unfamiliar with the piece. First up, the “play within a play” called NOTHING ON  is a traditional British bedroom or sex farce. And to make things even more meta, the cast of the show are creating their own sex farce from their private lives. This style of naughty comedy is uniquely British, and the best example for Americans I can think of would be Benny Hill and his show, which ran from 1955 through 1989. It’s a very broad slapstick comedy mixed with a touch of burlesque and the deadpan delivery of some lines and tons of slamming doors and things flying around. Peter Bogdanavich’s movie made the acting troop American so that the audience could tell when the actors were in or out of character, but that really made no sense. The humor is pure UK, even when anybody drops their act. It’s physical comedy and double entendres galore! Another aspect of NOISES OFF is that Act One is the slowest paced of the three and is used to set up a lot of things that come later. The actors in the technical rehearsal repeat things several times over so that the audience will know what is right and what is wrong. If the pacing seems off for Act One, it’s a result of Michael Frayn deliberately trying to set up his climax. The repetition has a purpose, even if it sometimes feels like it hinders the speed of everything.  

But make no mistake, The Alley Theatre’s resident company has several things up its sleeve for the rest of the show. The “dumb ballet” of the second act is a brazenly brilliant bit of silent movie comedy done with the backstage antics of the fictional cast. This ensemble seems to be all on equal footing, and they truly sync up so many sight gags and actions that it is breathtaking and hilarious. And by the time we get to the third act? The wheels have completely come off, and the cast simply lets everything fall apart around them with even funnier results. The Alley Theatre hits the right pace for this one, and it is such a joy to watch.  

Elizabeth Bunch seems a touch young to play the grand diva of Dotty Otley, but her comedic timing is in its prime. She truly knows how to sell a gag with a high-energy kookiness that makes her stand out. Todd Waite really goes for broke as director Lloyd Dallas, and he’s probably the funniest I have ever seen him be, which is a miracle if you know how comedic Todd can be. Dylan Godwin gives a randy horniness to Gary Lejune that makes you question whether or not he is the sex maniac his fictional character seems to accuse everyone of being. Michelle Elaine’s Belinda Blair is so scrumptiously desperate to both spread gossip and chill the chaos that we adore her conflict. Truly, the Alley’s Resident Company is put to fabulous use here, with everyone hitting a fever pitch together in absolute harmony. Nicole Rodenburg is the sole guest artist, and she fits right into the “deer in the headlights” commitment of Brooke Ashton. 

NOISES OFF’s set is always a challenge, as not only do you need a two-story living room set of a grand home, but it has to revolve so we can see behind the scenes. The set change got as rousing a round of applause as did any of the actors, and the technical crew should have been given bows. Tim Mackabee’s set and scenic design are sublime here on every level. Brandon Weinbrenner’s direction is quite solid, and he seems to have a great eye for staging and arranging all of these antics. And a special nod to Molly Wetzel for keeping everyone’s English accent in the right region and on point. 

Audiences will eat this one up, which should be of little surprise to anyone. NOISES OFF has been a standard since it debuted over forty years ago, and it is nice to see that it still works and holds up. The Alley Theatre and their resident acting company have certainly committed to polishing up the old chestnut and giving it a suitable revival to remind everyone that THE PLAY THAT GOES WRONG series started long ago with Michael Frayn observing Lynn Redgrave. Bravo for getting the sardines to fly, the doors to slam, and the pants to drop. 

NOISES OFF runs on the mainstage Hubbard Theatre of The Alley Theatre through October 27th. Tickets range from $33 up to $80. You may want to avoid the very front unless you are okay with sets turning near you, sardines nearly missing you, and actors almost hitting your lap. Me? I found it great fun to experience all of that! There is plenty of parking around the theater and walkable restaurants, including the old standby Birra Poretti’s.

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