Writer: Michael Frayn
Director: Lindsay Posner
The West End revival of the timeless 1982 farce, Noises Off, takes audiences on a riotous journey through slamming doors and hysterical misunderstandings with moments of surprising pathos. A play within a play, Noises Off chronicles the calamitous production of the fictional farce Nothing On, set in a country home where chaos reigns supreme. Adulterous estate agents, tax-evading homeowners, and pontificating burglars engage in a series of misadventures, missing each other by mere seconds as doors are frantically shut.
The brilliance of Noises Off lies in its seamless blend of on-stage and off-stage antics, featuring actors of varying capacities, a frazzled director, and two incredibly stressed stagehands. The play unfolds in three acts, the unprepared technical rehearsal, a matinee performance one month into the tour, and a disastrous show towards the end of the run. The production delivers all the classic elements of farce—mistaken identities, convoluted misunderstandings and slapstick comedy—all executed with impeccable timing and breakneck speed.
There are two ways this production could be understood: a delightful, light-hearted entertainment suitable for the whole family, carried by the Herculean efforts of the cast and the enduring brilliance of Michael Frayn’s script. Simultaneously, it can be seen as a poignant and absurd critique of our time, reminiscent of the works of Beckett or Ionesco, highlighting the Sisyphean nature of existence. Both are brilliant and sometimes felt simultaneously.
It is both hilarious and panic-inducing to watch Mrs Clackett (Felicity Kendal), obsessively focusing on her sardines; Garry (Matthew Horne) tirelessly trying to keep the show afloat; and Brooke (Sasha Frost), unwavering in her delivery regardless of how out of sync the show has become. The cast members skillfully navigate the infuriating chaos with astonishing control, creating an unlikely harmony on stage.
Horne, in the role of Garry, channels the spirit of Lee Evans in a marathon of physical comedy, evoking laughter with his impeccable timing and hilarious antics. James Fleet, portraying the ageing alcoholic Selsdon, injects a measured yet hilariously bizarre energy into the play. He has some of the biggest laughs of the show just for the sheer nonsense of them. However, singling out a standout star proves challenging, as the true magic of the production lies in the flawless interaction among the cast members. Each actor embodies their defined role with precision, allowing Frayn’s masterclass of a script to shine.
While Frayn’s script has undeniably stood the test of time, save for a short-lived sheikh character that may have to be written out in the next ten years, the production itself could benefit from a more modern touch. The set and lighting, designed by Simon Higlett and Paul Pyant respectively, are exactly what you might expect from an 80s farce. While the novelty of the well-executed set changes does initially captivate, it eventually loses its impact. It’s a bit boring. Frayn’s script yearns for a more innovative production design, one that could enhance the underlying political commentary typical of the genre.
Despite the outdated production elements, the exceptional cast and the robust script exude an undeniable excitement, making Noises Off a hidden gem waiting to be fully unearthed.
Runs until 16th December