Review: Georgia Shakespeare's "Noises Off"

Having the pleasure of attending several performances of the Georgia Shakespeare Company, I knew to expect an entertaining, creative evening. The comedy Noises Off would surely be quite different from the often updated Shakespearian plays. A play-within-a-play, the demanding physical comedy in Noises Off exceeded all expectations.

While delightful, the first “dress rehearsal” scene sets the table for the rollicking “backstage” second scene, and the climatic “end-of-tour” third scene. The eight doors on the two-story stage provided so many exit points, used so often by the actors, that at times I couldn’t keep up with who was behind which door. Would they always return through the correct door? During this “dress rehearsal” the actors gave a first glimpse into the character behind their character. Uniquely, the “director” (played expertly by GS veteran Chris Kayser) called his cues from a desk embedded in the audience.

During intermission the stage was turned around, revealing the back of the two-story / eight door stage. Actors marched through the doors to “perform,” facing away from the real audience. But during the “play” the real action was backstage, and non-stop. These animated conversations, chases, and fights were so intricately choreographed that it was amazing everyone on stage was able to keep up. So much was going on at one time that for once I wished my front row seat was further back. Since only glimpses of the “play” could be seen or heard, what was left to the imagination made the chaos even funnier.

The physical comedy includes expertly choreographed sequences and the actors hilarious use of newspapers, sardines, flowers, bags, bottles, sheets, clothing, and a fateful cactus. Time will tell how many telephones the cast goes through during Noises Off’s run. And whether Joe Knezevich (Garry/Roger) will survive his numerous nightly staircase stumbles.

At “play’s” end the stage was darkened, allowing audience (and cast) time to catch our breath and wipe the tears of laughter from our eyes. In the darkness the stage is rotated back to reveal the front again. As the “cast” launches into the final show of the tour, we now know each “actor’s” boiling point / Achilles heel. These weaknesses are even more fully exploited in this last scene, making for even more hilarious sequences that often unfold just slowly enough for the audience to anticipate…greatly adding to the fun (my favorite: “No bag!”). Other scenes are even funnier surprises. Though you know its coming, Noises Off barrels to a close at breakneck speed.

For all its hilarity, Noises Off is definitely a PG13 show. While the audience roared at the foul language, the play would’ve been just as funny had the script been slightly toned down. The lovely Vicki (Ann Marie Gideon (Brooke)) performs the majority of the play (and many expert physical stunts) in her undergarments.

Enclosed in the Noises Off playbill is an additional “playbill-within-a-playbill” outlining the Nothing On “actors” and their “roles.” This “playbill” makes for fun reading.

With Noises Off, Georgia Shakespeare has once again noisily knocked my socks off. It’s a play to watch again and again for two reasons: To catch things missed from the first time, and to see if the cast can make it through the intricate choreography one more time. Bravo!