A Hilarious Romp with a Slight Directorial Misstep
Noises Off at the Geffen Playhouse
This past weekend, my fiancée and I attended a matinee performance of Michael Frayn's Noises Off at the Geffen Playhouse. The production, co-produced with Steppenwolf Theatre Company and directed by Anna D. Shapiro, promised an afternoon of uproarious comedy, and for the most part, it delivered in spades.
The ensemble cast showcased remarkable comedic prowess, navigating the intricate choreography of doors slamming, trousers dropping, and sardines flying with impeccable timing. Ora Jones, portraying Dotty Otley/Mrs. Clackett, was a standout, embodying her character's endearing quirks with delightful flair. Amanda Fink, as Brooke Ashton/Vicki, captivated the audience with her exaggerated astonishment and impeccable physicality, adding layers of humor to her role. Audrey Francis, in the dual role of Belinda Blair/Flavia Brent, seamlessly transitioned between her characters, delivering a performance that was both vivacious and nuanced. Francis Guinan's portrayal of Selsdon Mowbray/Burglar was a masterclass in comedic timing; his character's whimsical obliviousness and well-timed entrances elicited hearty laughter throughout the theater.
David Lind (Garry Lejeune/Roger Tramplemain) and James Vincent Meredith (Frederick Fellowes/Phillip Brent) brought their characters to life with a blend of charm and hilarity, each contributing to the play's escalating chaos. Max Stewart, as the overworked stage manager Tim Allgood, added to the backstage pandemonium with his flustered demeanor and well-executed physical comedy.
However, amidst this ensemble of comedic talent, Rick Holmes's portrayal of the director, Lloyd Dallas, fell somewhat short. Lloyd is envisioned as the exasperated ringmaster, struggling to maintain control over his unruly troupe. Holmes's performance, while competent, lacked the authoritative presence and sharp wit that the role demands. His subdued delivery resulted in missed opportunities to heighten the play's comedic tension, causing his character to recede into the background rather than stand out as a pivotal force in the unfolding mayhem.
Despite this minor hiccup, the production was a resounding success. The cast's collective energy and commitment to the farcical elements of the play ensured an afternoon filled with laughter. The physical comedy was executed with precision, and the chemistry among the actors was palpable, making for a thoroughly enjoyable theatrical experience.
In conclusion, Noises Off at the Geffen Playhouse is a testament to the enduring appeal of well-executed farce. While the portrayal of the director could have been stronger, the overall production is a delightful romp that showcases the talents of a stellar cast. For those seeking an afternoon of hearty laughter and theatrical hijinks, this production is well worth attending.