Review of “Noises Off” - Close the Door, They’re Coming in the Window, Close the Door They’re Running up the Stairs

 

Jeremy Kahn as director Garry Lejeune, Linda Mugleston as Dotty, Wali Jamal as Selsdon Mowbray, Ricardo Vila-Roger as Frederick Fellowes, Gwendolyn Kelso as Belinda Blair, Rowan Vickers as Lloyd Dallas and Lara Hayhurst as Brooke Ashton. Credit all photos: Pittsburgh Public Theater

    Those familiar with the 1955 Jim Lowe hit “Close the Door” have an inkling of what to expect from a staging of playwright Michael Frayn’s rambunctious farce “Noises Off.’  https://www.youtube.com/results?search_query=close+the+door+they%27e+coming+through+the+window.

Those familiar with the 1992 filmed version of the play starring Michael Caine, Carol Burnett and Christopher Reeve should put their expectations on the back burner. Pittsburgh Public Theater’s current staging of one of the theater world’s most hilarious farces are in for a real treat, one I feel is much better than the movie. And I’m not exaggerating.

Played at what I recon is twice the speed of the film, Public’s “Noises Off” is not one for the mentally lethargic. Nine actors come and go through what I counted as eight doors and one window on scenic designer, Tim Mackabee’s magnificently detailed set of a play within a play. In Act Two, we watch as the set turns around on a rotating platform to reveal a second detailed set that shows the innards of the back of the stage. It’s thrilling to watch, although the glee emanating from the appreciative audience is virtually deafening.

When the play within a play opens showcasing a rehearsal just hours before opening night, we find Dottie (Linda Mugleston) dressed in housecleaner garb answering the phone with a plate of sardines in her hand. The latter will become the prop for a running joke that continues through both acts and what I call the epilogue of the farce.

Within minutes, a couple arrives at the nearly empty house ostensibly looking to buy from the owners, but with antics in the bedroom more on their minds.

Lara Hayhurst as Brooke Ashton and Jeremy Kahn as Garry Lejeune.

On the arm of the realtor cum lothario (Jeremy Kahn) is Brooke Ashton (Lara Hayhurst), a flighty blonde whose lack of gray matter is more than made up with her pert and perky pulchritude. Watch to what hilarious extremes Hayhurst, a master of comedic skill. maneuvers her arms and legs at unbelievable angles and configurations in order to squeeze as much laughter as she can out of even the dourest theater goer.

As they disappear looking for a place to secret away, another arrival, this one unexpected by the owners of the house, supposedly on the lam in Spain for income tax evasion. Now at home, Frederick (Ricardo Vila-Roger) and his on-stage wife, Belinda (Gwendolyn Kelso) soon begin the game of musical doors (one opens while another slams shut).

Every play must have its director, even one that’s a play within a play. This time, the duty falls on Lloyd Dallas (Rowan Vickers,) a harried soul who somewhat belligerently balances directing the hapless play with prepping to direct a Broadway production of Shakespeare’s “Richard III” and maintaining romantic liaisons with both Brooke and stage manager, Poppy (Saige Smith), the put upon back stage manager.

We’re no way done with the cast lineup, but yet have to hear about two of Pittsburgh’s most prolific actors. Wali Jamal as Selsdon Mowbray, is seen as an unreliable, hard of hearing  Thespian who carries on an unrequited relationship with alcohol in his role as the burglar, and Matt Hnederson, who adds his unique blend of charm, affability and idiosyncratic style to his character, Tim Allgood, the beleaguered stage manager.

During the production, as I watched several actors simulate slips on the aforementioned sardines, now spilled on the floor, and Kahn (I believe it was) who tumbled down the stairs with convincing gravity, I began to wonder if the theater had a paramedic on board lingering off stage just in case something untoward occurred during the lengthy run. Talk about break a leg!

Saige Smith as Poppy, Wali Jamal as Selsdon Mowbray, and Gwendolyn Kelso as Belinda Blair

The second act continues the laughter from the other side of the stage (thanks to the aforementioned turn table). Set number two is just as visually nuanced as its obverse, though not as attractive. After all, we’re now backstage, which is meant to be functional, not visually attractive.

The audience gets to see the behind-the-scenes machinations of the characters while the play within a play takes place on the opposite side. It also gets to see the skeleton of the set from the rear, but, more importantly, the miscues, mishaps, misfortunes and near catastrophes that take place.

In the final third of the farce, we’re again watching the play from the front as the theater company is shown performing its final show. By now, after a lengthy road trip, fatigue, resentments and antagonisms have set in, yeast to further pratfalls and gaffs.

What I came to appreciate was the way the entire production came off like a well-oiled machine. Every one was on cue, an amazing achievement considering how fast everything moved. Watching it was like doing aerobic exercise for the brain.

Somehow director Margot Bordelon pulled everything off without a hitch. On opening night, the two hour plus laughathon went off with high speed precision without a burp, a miscue or nary a glitch.

Is “Noises Off” the funniest play ever? I think it is, but go see for yourself. If laughter is the best medicine, it’s a great way to improve your health.

“Noises Off” is at the Pittsburgh Public Theater's  O’Reilly Theater, 621 Penn Avenue, through October 19. For tickets visit https://ppt.org/production/100487/list_performances or phone 412-316-1660.