A lot has to go right for a play to go this wrong which is the delightful paradox at the heart of Michael Frayns oft-revived 1983 hitNoises Off, which follows the production of a fictional play calledNothing Onas it careens hilariously off the rails.
The actors in the play-within-a-play bumble through the needlessly complicated technical aspects of the production, including dozens of door slams in the first act alone, as well as the highly complex and apparently crucial positioning of a prop plate of sardines.
The need to flub so many cues, lines, and entrances in just the right rhythm must makeNoises Offcomparable to an Olympic event for even the most seasoned theater actors.
Credit: Joan Marcus
Luckily, in director Jeremy Herrins high-energy staging at the American Airlines Theatre, the cast, which includes Andrea Martin, Campbell Scott, and Megan Hilty, knows how to fail like pros.
The actual plot of theNothing Onis borderline incomprehensible and not all that important suffice it to say it involves an old British vacation home, a lot of misunderstandings, and a two-story set featuring seven sometimes-functioning doors.
The comedy comes from the behind-the-scenes antics of the six actors, the director Lloyd Dallas (Scott), and two stage managers, Poppy and Timothy (Tracee Chimo and Rob McClure).
In true slapstick form, each of the players has a hidden game or bit of actorly preciousness that contribute to the dysfunction.
Dottie Otley (Martin), living up to her first name, cant remember what shes supposed to do with the damn sardines; Frederick Fellowes (Jeremy Shamos) breaks out into nosebleeds at the mere mention of violence; Belinda Blair (Kate Jennings Grant) enables Fredericks neuroses; Brooke Ashton (Hilty) delivers her lines like an overly coached child star; Garry Lejeune (David Furr) is encumbered with a bizarre vocal tick; and Selsdon Mowbray (Daniel Davis) is a salty old drunk who needs to be kept away from the whiskey.
Were treated to three distinct performances ofNoises On, and the second, memorably, features the set turned back-to-front, so we see the production from the wings.
At that point, a love triangle involving Lloyd, Poppy, and Brooke, as well as a covert relationship between Dottie and Garry have destroyed all hopes for backstage harmony.
The third act is a true tour de force of mishap upon mishap, capped by a meticulously choreographed tumble down the stairs.
The script gives each of the stars several moments to shine, and Andrea Martin anchors Herrins production with a brilliant manic energy theres a certain athleticism to her almost graceful fumbling amidst the chaos.
The direction, performances, and set design by Derek McLane create a symphony of shouting and flop sweat, turning pure slapstick into high art.
A-
