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.

The Outsider at the Print Room Coronet review ****

albert-camus

The Outsider

Print Room Coronet, 19th September 2018

Tricky one this. I can’t pretend I was pinned back in my seat by the two and a half hours of Ben Okri’s adaptation of Albert Camus’ absurd existentialist classic written in 1942. Abbey Wright’s careful direction injects a little humour, (a dog is played by a mop and the trial scene is undercut with satire), but otherwise doesn’t take liberties with either Camus’ story or this intelligent text. The monochrome set, complete with multiple fans, and costume designs of Richard Hudson, bolster the sense of ennui. The Print Room dry ice machine gets yet another comprehensive work out. The plot, French Algerian bloke, bored at work as a clerk, can’t really get worked up about Mum’s death, finds girlfriend but can’t commit, gets involved with rum type neighbour, gets very hot, kills Algerian, is tried and condemned without really explaining himself, has its moments but isn’t going to pack them in at the Victoria Palace any time soon.

Yet this unhurried, unequivocal approach slowly and surely yields dividends assisted by an outstanding performance from Sam Frenchum. Now the Tourist got an inkling into of the talent of young Sam in the role of Hal in the Park Theatre’s excellent revival of Joe Orton’s Loot this time last year. Hal may not be the sharpest too in the box, so needs to be played dumb to get the laughs, but we need to see how his jealously of lover and criminal sidekick intensifies through the farce. That we got. Here though the young man, who is on stage throughout, rises up to a different challenge, gradually uncovering a man in Mersault, who reveals nothing. His delivery is deliberately monotone but far from mechanical. I expect him to go on to bigger things from here (actorally if not philosophically).

The pace gives the audience plenty of time to ruminate on what drives Mersault and why he is like he is. In the same way as the book. Ostensibly simple, almost banal, Mersault’s story yields pointed insight into the human condition, and specifically, the notion of alienation, of Mersault being a “stranger” or “outsider” to his own life and in the society around him. His utter indifference. Of course you might think it is a load of pretentious Gallic guff which only those who think too much and/or have too much time on their hands could possibly think is of any value. You might be right but I respectfully suggest you give it a go. After all you surely must have experienced the feeling of being utterly bemused by what is going on around you or unable to summon up apparently required emotions. Camus’ absurdist philosophy, his utter scepticism, is pretty bleak but it is ultimately truthfully humanist, even if it doesn’t always feel very human and can jar with post-modern sensibilities. It still needs to be understood though.

The book is written in the first person. Ben Okri has preserved that structure with Mersault speaking direct to audience in key passages to detail his experiences, perceptions, feelings, motivations, or more precisely lack thereof, whilst mixing this up with action across 13 speaking characters (and a few brave community locals). His first date with Marie Cardona (an innocently upbeat Vera Chok) on the beach, the murder, when he is alone in the cell and large parts of the courtroom scenes are straight narrative: the interactions with Raymond (an intimidating Sam Alexander), the undertaker and his defence lawyer (Josh Barrow moving swiftly on from his fine performance in The Silk Road at Trafalgar Studios), his boss and the prosecuting lawyer (David Carlyle) and the director and examining magistrate (Mark Penfold) are largely dialogue, though even here the sense that Mersault is at once removed from his own “reality” is palpable. Mind you he certainly “comes alive” when he violently rejects religion in the powerful scene with the chaplain (John Atterbury).

Mr Okri has preserved the minimalist quality of Camus’ text, or at least the translation I remember reading years ago, but still offers enough “colour” for Abbey Wright, lighting designer David Plater, sound designer Matt Regan and movement director Joyce Henderson to work with. Mind you he doesn’t quite scale the spartan heights of Robert Smith lyrics in The Cure’s early classic Killing An Arab.

If you do take the opportunity to see this production at the Print Room, there are a handful of tickets left, or if it pops up elsewhere, which it should, then don’t miss the accompanying short film by Mitra Tabrizian with text, in Arabic, once again from Ben Okri, which imagines events from the perspective of the Arab. Camus’ novel is discomforting in many ways, as was his principled ambivalence to Algerian independence, but giving a voice to the nameless Arab, here Mohamed Moulfath, (in the play Archie Backhouse), in a way similar to the 2014 novel The Mersault Investigation by Kamel Daoud, offers a valuable alternative perspective.