Review: NOISES OFF (Chichester Festival Theatre)
Having never been a frequent cinema or theatre goer myself – though no stranger to these art forms I would never describe myself as a devoted fan of either – it would be presumptuous of me to assume the role of critic, which is why in this piece I purport to do no more than record my impressions of yesterday attending a matinee performance of the currently touring production of Michael Frayn’s farce/play NOISES OFF which had pitched up at the Chichester Festival Theatre for a short stint.
Frayn has revealed that its origins sprang to his mind in 1970 whilst watching from the wings a performance of THE TWO OF US, a farce that he’d written for Lynn Redgrave:
“It was funnier from behind than in front and I thought that one day I must write a farce from behind”.
The result – our suject de jour – premiered in 1982 at the Lyric Theatre in Hammersmith, directed by Michael Blakemore, with a cast headed by Patricia Routledge, Paul Edington and Nicky Henson. It subsequently went on to consistent success in both amateur and professional theatre around the world and has amassed numerous awards in the process.
[I must now issue a “spoiler alert” to any Rusters who have not seen the play but might be planning to do so].
The piece is set in a provincial theatre at which the director and cast of a unremarkable professional production of a farce entitled NOTHING ON are conducting a hopelessly unready, not to say potentially disastrous, dress rehearsal on the eve of its opening night.
The initial theatrical “trick/deceit” that Frayn inflicts upon his audience is that – in Act One – supposedly taking place at a country house which later turns out to be the “set” of the fictious play, the actors apparently first appear as real-life characters – but are then revealed as its cast members, after which they “flick back and forth” between the two.
Act Two of this two and a half hour entertainment is then set backstage at the theatre at which the play is being performed – and Act Three is set on stage “out front”, this with we – the real audience (now ‘in on the joke’) – doubling as the audience of the make-believe play.
Here follow my thoughts upon yesterday’s expedition.
Having seen the original production of NOISES OFF in about 1983 at the Lyric Theatre, I already had an inkling of what to expect – I can claim no more, such has been the effect upon my memory of the four decades since – but I thoroughly enjoyed yesterday’s trip to the theatre, as indeed I do most that I make.
Sadly my wife, literally making her first public outing since spending a week confined to bed by a prolonged and vicious bout of cold/’flu/hacking chesty cough (but thankfully not Covid!), was less fortunate.
Her indisposition had left her still weak and easily exhausted and – to be blunt – she found the overall experience a significant physical ordeal and the (at times) complicated and highly frenetic on-stage antics confusing and sometimes difficult to follow.
As for the performance, the cast – Lisa Goddard, Simon Shepherd, Dan Fredenburgh, Lisa Ambalavanar, Nikita Lesler, Simon Coates, Lucy Robinson, Daniel Rainford and Matthew Kelly – took on their considerable challenge (of switching back and forth between their character’s roles whilst coping with the daunting array of props, mix-ups, mistakes, disasters and, above all, the demands of timing the physical and verbal gags involved) – with tremendous gusto.
Actually that comment does them less than justice. In particular I’d salute here Simon Shepherd (playing Lloyd Dallas) who was outstanding as the action descended into complete and utter (and I use the word advisedly) farce.
Such was the impact of the prolonged whirlwind of chaotic activity on stage that, driving home afterwards, I could only marvel at the fact that – even after a well-deserved two hour break – they were later “going to do it all over again” at the 7.00pm evening performance last night.
