Noises Off at the Lyric Hammersmith review ****

Noises Off

Lyric Hammersmith, 24th July 2019

Noises Off will transfer to the Garrick Theatre from 27th September.

It is a generally accepted truism in luvvie-world that Michael Frayn’s Noises Off is one of the funniest plays. An opinion with which the Tourist heartily concurs.¬†Alongside Lysistrata and The Frogs, most of Shakespeare’s comedies, Volpone and The Alchemist, Tartuffe, Goldoni’s The Servant of Two Masters (Richard Bean’s version will appear on screen again on 26th September and a revival is due at the Queen’s Theatre Hornchurch), Uncle Vanya, Loot, The Real Thing, Serious Money, Dead Funny, The Habit of Art, The Lieutenant of Inishmore, Hangmen and The Play That Goes Wrong (whose makers have, not unreasonably, made a few quid following Michael’s Frayn’s lead). There’s probably a fair few more. But I haven’t seen them yet.

So I wasn’t about to miss this revival at the Lyric. And nor should you when it transfers to the West End. You know the drill or can easily find out. We see a touring performance of a sex farce, Nothing On, by one “Robin Housemonger”, or more precisely three performances of its first act: first in technical rehearsal at midnight the night before opening in Weston-Super-Mare, then from backstage a month later in Ashton-under-Lyme and finally from front of stage in Stockton-on-Tees at the end of the run. This is not an entirely happy troupe and the relationships between the cast, director and technical staff are, shall we say, complicated. Especially when their vanities, problems, passions and tantrums bleed into the performance. To, as the cliche goes, “hilarious effect”. So we get comedy driven by character, (notably the gap between on and off stage personas), situation, plot, wit and spectacle, through farce, slapstick and props. It is a treat for eyes, ears and also brain, as there is abundant comic logic just below the surface treats.

It requires immense skill to pull off. Not just from the cast but also from the creative team. To deliver a play within a play that doesn’t actually get pulled off. Michael Frayn completed the play in 1982 though the idea first came to him when watching one of his own farces, The Two of Us, from backstage in 1970. As with all of Mr Frayn’s plays, serious or comedy, he doesn’t stop where other writers might have done. He goes on buffing and polishing to create something close to perfection. Which I would contend he did, precisely, first time round here. though it hasn’t stopped him reworking it for subsequent revivals, and, as he reveals in the programme, actually editing out some unfortunate misprints which appeared in the original. Which is itself pretty amusing in a meta sort of way.

I can’t pretend this is quite up to the very high mark set by Lindsay Posner’s revival at the Old Vic in 2012. But it comes close. As it happens all the family saw that including LD, only 10 at the time. It is still, she says, the funniest thing she has ever seen, (along with the Mischief Theatre portfolio, so if you are tempted to take the nippers along don’t hesitate. In this production Headlong’s Jeremy Herrin directs which is helpful since he is the master of the high octane. Max Jones’s set does exactly what is required, front and back, as does Amy Mae’s lighting and Lorna Munden’s sound (which is at is most accomplished in the second act when the actors are effectively silent). And Complicite’s movement director, Joyce Henderson, shows why she is one of the best in the business.

Now it was pretty hot in the Lyric the night we went. Which wasn’t great for MIL who had to leave at the interval with the SO. A shame because I would have valued her opinion, since she is even more parsimonious with her praise that the SO. Still a thumbs up for the first half. It also meant that Daniel Rigby, as “leading man” Garry Lejeune probably lost a few pounds given how much he physically had to do. I was also taken with Lloyd Owen’s take on his namesake director, the supercilious predator Lloyd Dallas and with Jonathan Cullen’s take on the neurotic Frederick Fellowes. Frankly though a cast that includes the likes of Meera Seal as Dotty Otley who bankrolls the fictitious play, Simon Rouse as dipso lurvie Selsdon Mowbray and Debra Gillett as the maternal Belinda Blair, as well as Amy Morgan as the dramatically challenged Brooke Ashton, Lois Chimimba as put upon ASM Poppy and Enyi Okoronkwo as the even more put upon SM Tim, was always going to get this right, which with a couple of hutches they did handsomely.

Noises Off premiered at the Lyric Hammersmith, directed by Michael Frayn’s chief collaborator Michael Blakemore. It went on to a five year run in the West End. I hope they make a few quid from this revival.

And that Rachel O’Riordan’s in augural season turns out to be as good as it looks. There are still prime seats for a tenner at the previews of Solaris, Love, Love, Love and Antigone. Which frankly is a steal. The biggest bargain in London theatres anywhere right now IMHO.

Exit the King at the National Theatre review ****

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Exit the King

National Theatre Olivier, 15th August 2018

My first Ionesco play, albeit in a version adapted by ubiquitous wunderkind Patrick Marber, (one day the image of Peter O’Hanraha-hanrahan that pops up at the mention of his name will pass), and, all things considered I liked what I saw and heard. I gather Exit the King is the least absurdist of his major works but there is nothing existentially impenetrable about this production. Apparently too this was the National Theatre’s first ever production of this playwright.

Maybe, over its 100 minutes or so running time, its theme, forgive the pun, was done to death. And maybe there was a bit too much “one character at a time”, comic-strip style declamation but overall I was hooked. Rhys Ifans, who I cannot lie, can annoy me, (I wasn’t bowled over by his fool in the Glenda Jackson Old Vic Lear), was perfectly cast as King Berenger; his movement, stature and delivery were expertly marshalled to great effect as the King went through the various stages (denial, anger, bargaining, depression) on the way to accepting his death. Indira Varma was imperiously forthright as Queen Marguerite, as you might expect, and Amy Morgan as Queen Marie, the King’s pandering favourite was a fine foil, even if I have to assume she was more Breton than Ile-de -France given the Welsh twang in her Gallic accent. Adrian Scarborough as The Doctor has added another notch to his long list of comedy side-kicks, the under-rated Debra Gillett squeezed a lot of laughs out of the maid/nurse Juliette as did childhood hero Derek Griffiths as the Guard, (I only realised it was him halfway through), with his pithy Brechtian pronouncements on the action.

Patrick Marber once again showed what a clever fellow he is, not just in the way he understands and interprets classic texts, but in the way he makes them relevant and lucid to contemporary audiences, (After Miss Julie, Don Juan in Soho, Three Days in the Country, Travesties). That I guess is what makes him so bankable as a writer/director though I would like to see him conjure up another original play to rival the heights of Dealer’s Choice and Closer. Anthony Ward’s set design is a triumph, showing it is possible to fill the vast Oliver barn with just six characters, and the coup de theatre delivered at the end, with the assistance of High Vanstone’s lighting and Adam Cork’s sound design, is worth the ticket price alone. No hyperbole here. I literally think it is worth paying ¬£15, for there are plenty of the cheap Travelex tickets left, to see this technical wonder.

King Berenger has reached the grand old age of 483. His kingdom is on its knees but the despotic old boy doesn’t seem to care. He discovers he only has an hour or so to live. There’s nothing the Doc can do. Welcome to the surreal world of French-Romanian playwright Eugene Inonesco. We are in a fairy tale though one that seems to obey Aristotelian real time. KB isn’t happy about the news. His Queens alternatively coax him into denying or accepting this reality. There’s is a deal of metaphysical and psychological insight, some game-playing and a few good one-liners, even if there is no real surprise in the narrative arc. But it does make you think and you do identify with the humanity inside these fabulous characters and there is an energy or, for want of a better term, a life-force, in the play which draws you in, despite the dramatic inertia. As someone who has veered rather too closely towards the guard-rails of mortality in recent years I could see what Ionesco was driving at. He does sound like a bit of a eeyore who spent too long pondering the big questions in life, (and here death), but we need people like that to spare us having to grapple with all this mind-f*cking stuff.

Exit the King is a tragedy played as a comedy and there is, as we know, a lot of fun to be had in that. It isn’t difficult to spot the parallels with the central concern of Lear say, albeit big Will shoves in a few other themes, (and Lear obviously has a fair dose of the absurd), as well as your man Beckett. I have to say though I found this easier to digest than Beckett, though I am no expert. Maybe that reflects the quality of the production but I think I would be keen to see this chap Berenger again, (apparently he crops up in other EO plays Rhinoceros, The Killer and A Stroll in the Air). I suspect that I won’t have too many opportunities to realise this dream, as this is not the sort of theatre to guarantee bums on seats, so I had better crack on with it.

Lurking behind this one-key morality tale Mr Marber does try to draw out a broader message. Just as when we individually die, we die – that’s it folks – and our lives don’t really matter, so it is the same for our species. Homo Sapiens will end with a slow whimper not a bang (technology I’m afraid is the enabler, not the saviour, of our destruction), and there will be no consciousness left to care or mourn. A combination of cynicism and stoicism is the only solution.

Have a nice day.