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.