Noises Off at Theatre Frisco
“Noises Off,” written by Michael Frayn in 1982, is a farcical comedy that follows a theater group through three distinct stages of their production’s run. Theatre Frisco’s adaptation delivers a comfortable, easy-to-watch story that humorously captures the chaos behind the scenes of a stage production. This play-within-a-play serves as a comedic love letter to the hard work and dedication happening offstage, shining a light on the often unseen efforts that bring a performance to life.
In a thrust stage configuration, the set presents the interior of a two-story house. At its center is a living room, framed by four doors on the ground floor and another four on the upper floor. Rodney Dobbs designed a versatile set that the crew (MD Christian, Melissa Feldman, Sarah Box Zakarian, Elise Knox) rotates during intermission, creating a front-facing view that feels familiar to the general public, while the reverse side offers a backstage perspective that resonates with artists.
One aspect that made this production particularly special is how Neale Whitmore’s version not only tells the story of backstage chaos, as Frayn’s farce originally intended, but also invites the audience to experience an artist’s perspective on what it takes to put on a show. This attention to detail extends beyond the performance itself, immersing the audience even during intermission.
Typically, audience members remain unaware of the immense effort and collaboration happening behind the scenes. We sit back, relax, and enjoy the result without considering the intricate work involved. This play changes that dynamic, showcasing the artists preparing props, knocking on doors, or shouting lines while juggling other tasks. Most notably, during intermission, the production allows us to witness crew members—Christian, Feldman, Box, and Knox—communicating and working together to rotate an enormous set entirely on their own.
Crew members are often overlooked, but Whitmore ensures they receive their well-deserved recognition, culminating in a moment where their hard work is acknowledged with applause.
Overall, this play captures a sense of urgency and controlled chaos and is packed with physical comedy. Act I introduces the dress rehearsal of the play “Nothing On.” While this opening act felt rushed and lacked energy, with humor only appearing sporadically, the energy significantly picked up in Acts II and III. These later acts were so engaging and entertaining that they felt like they flew by in just five minutes each.
Act II was the highlight of the entire play. It felt as though most of the rehearsal time had been dedicated to perfecting this act, and it truly paid off. The timing was impeccable, and the chaos was masterfully orchestrated. The cast conveyed the story primarily through their physicality, as their dialogue largely consisted of the lines spoken by the “Nothing On” characters. This required exceptional precision in their movements, which they executed flawlessly. During this act, we witness the actors of “Nothing On” collaborating to keep the play running amidst the chaos of their personal conflicts—jealousy, love triangles, drunkenness, and tardiness—all adding layers of humor and complexity to the story.
The physicality in most performances was very evident; however, Bryan Brook’s portrayal of Garry Lejeune takes the crown. From jumping around the stage and avoiding obstacles with his shoelaces tied to falling down the stairs in a controlled manner, Brook’s performance showcases a high level of physical training. He makes sure we are fully aware of the skill and precision required for such a performance.
On the other hand, Sherry Etzel beautifully demonstrates that physicality doesn't always require risk to convey power. She gives her character, Dotty Otley, a quick and nimble physicality that showcases her high status. Through her body language, Etzel communicates her character’s authority, showing that she isn’t afraid to look "ridiculous," which only adds to the comedic effect of her delivery as Otley. Her impeccable comedic timing and extensive experience in improv are clearly evident and essential to her performance.
Although most of the performances effectively blend natural delivery with the exaggerated style characteristic of farce, there were moments where the acting felt more like pretending. In Sydney Hamil’s performance, I found her portrayal of Vicki (the character of “Nothing On”) to be more believable than her performance as Brooke Ashton (the actress). It seemed as though she was forcing physical comedy rather than allowing the story to guide her movements and take control of her body naturally.
This play is filled with ridiculous moments that only enhance its enjoyment. Many of them involve Jason DeArmond, who plays Lloyd Dallas (the director of “Nothing On”), and David Helms, who plays Tim Allgood (the stage manager). Here are just a few examples of how absurd the moments in this story can get.
Seeing Lloyd lift Tim into the air out of stress.
Tim running to the flower shop three times because the flowers keep ending up in the wrong hands.
Tim, Lloyd, and Selsdon (Paul Niles) playing the same character simultaneously to save the play.
Another moment worth highlighting is when Poppy, the assistant stage manager of “Nothing On” (played by Ellie Williams), and Tim repeatedly make the same announcements without anyone acknowledging their mistake. The way both characters perform with constant worry on their faces and in their actions adds an extra layer of humor. Their delivery never feels forced, giving us yet another reason to crack up.
Theatre Frisco’s Noises Off showcases how everyone involved in a production—both cast and crew—gives their all to keep the show running, no matter how absurd the conflicts may be. Through its brilliantly executed physical comedy, impeccable timing, and the cast's commitment to their characters' chaos, this production serves as both a hilarious tribute to the resilience of theater professionals and a reminder of the unpredictability that live performance can bring.
RUNNING: Through Nov 24, 2024
VENUE: 8004 Dallas Pkwy Suite 200, Frisco, TX 75034
TICKETS: https://www.theatrefrisco.com/