Noises Off

The quintessential theatre-lover’s play, Noises Off arrives at Beenleigh Theatre Group, directed by Roslyn Johnson and Samuel Gregory. It is loaded with F’s…frantic, frolicking, and farcical. It was touted by many as the most hilarious show ever put onstage. Yet, with an amazing script come large expectations and the need for top talent.

In this play within a play, we meet the actors putting the final touches on the show and see their foibles. A great show for actors as audience–reliving the unspoken horror of a show gone wrong—and seeing that it can happen to others.

The flimsy plot involves Dotty the maid (Debbie Taylor) fussing about all the people coming in and out and keeping track of her plate of sardines. A constant barrage of slamming doors, misplaced props, innuendo, and backstage relationships ensues.  The characters are all people we feel we know. There is Garry (Ian Johnson) who enters with the ditzy Brooke (Ashleigh Cates). He is that guy who earnestly wants to say something, but finishes with “well, you know.” His energy and stage athleticism were key to the show. Brooke is that gal who just knows her cues and is one emotion all the time. Frederick (William Boyd) is the actor who has to have everything explained to him, replete with various other quirks. He added more fine physical acting and nuance in a believable role. Selsdon (John Stibbard) is the forgetful, aging actor with a bit of trouble with the bottle. Polished as a performer, he was almost too smooth to be believable. A left handed compliment? Lloyd the Director (Steven Days) captures the exasperation of plans gone wrong in a curt, snooty style, oftentimes in stunned silence. A special mention to Poppy (Stephanie Kutty) and Tim (Joel Sutton), for their brilliant comedic timing!

The action goes from opening night for this not-ready-for-the-English-countryside troupe to a month into the show, where entanglements and feuds abound. Now the love triangles escalate into full-scale war, with the cast struggling to say their lines and hit their marks while plotting their next move.

The fun perspective in Act II is the reversing of the set so that we see the action from a backstage view. The full set is built as a lazy susan, revolving for this perspective and remarkably assembled by the talented Ian Johnson. This is how we capture the real ‘noises off” which refers to a stage direction of unseen sound offstage.

It takes a talented cast to work with such exactitude, not the type show that one cuts their theatrical teeth on. As directors, Roslyn and Samuel have shown a good grasp of English farcical sensibilities and brought out many laugh out loud moments. Farce so well crafted is rare, definitely one not to miss.

Melissa Bobbermien