Noises Off

While the basic elements of farce are universal, there are always peculiarities of period and locale. In his modern classic, Noises Off, Michael Frayn mixes stock characters, fast action, impeccable timing, slapstick, compromising positions, and wardrobe snafus with the trials and tribulations of a British comedy troupe. The results, in Kent Thompson's well-executed production, reap maximum absurdity for those whose peccadilloes include sardines and hot water bottles; those of us otherwise inclined are undone by the sheer genius involved in choreographing nine actors, nine doors, front and back stage, and the convoluted relationships and eccentricities of the characters, on the one hand, and the actors, on the other.

Kate Skinner as Dotty Otley fills us in on the situation Photo: Terry Shapiro

What we witness is three different productions of the same comedy, Nothing On, that take place during a three-month run on the road. Act One is performed as the audience would see the stage. It begins with a harried tech rehearsal less than 24-hours before opening, and sets up the characters, their relationships, and the situation. Act Two takes place backstage, on the same travelling set; as the relationships are further stretched and strained. Act III returns to the audience's point-of-view, as everything that could go wrong does go wrong.

David Ivers as Garry Lejeune sizes up the possibilities of Kate MacCluggage as Brooke Ashton and an empty house Photo: Terry Shapiro

The play-within-a-play (Nothing On) revolves around Philip and Flavia Brent's country home, and what goes on when the help, the property manager, and the local burgler think the Brents are out of town. The play (Noises Off) involves some common backstage intrigues: an acting-challenged ingenue, romance, jealousy, alcohol, pharmaceuticals, forgotten lines, and missed entrances.

As Frayn noted in a 1984 interview, the permutations and combinations of the two plots made him feel that "I had come to the end of the bytes in my brain, that I had exceeded the capacity of my memory store." This is saying a lot for a playwright who swallowed theoretical physics in Copenhagen and uplifted the medieval mystery play to Greek dramatic heights in the Max Reinhardt bio Afterlife. Frayn cleverly begins with the play-with-a-play, then jolts us with the realization that we're watching a rehearsal. From then on, we're waiting for the other shoe to drop as the insanity is ratcheted up with each act.

Brent Harris as Frederick Fellowes and Megan Byrne as Belinda Blair try to ignore backstage vendettas Photo: Terry Shapiro

Enough can't be said of the cast, who throw themselves around with such abandon one would think they believe themselves to be cartoon characters with elastic bodies and nine lives. The ensemble includes local favorites David Ivers, Sam Gregory, Philip Pleasants, and Morgan Hallett, familiar faces Brent Harris, Megan Byrne, and Michael Keyloun, and delightful newcomers Kate MacCluggage and Kate Skinner.

The Denver Center Theatre Company's production of Noises Off runs through November 1st. 303-893-4100.

Bob Bows