For 12 weeks only Noises Off promises easy laughter with a bold and witty meta farce

The director shouts to hold, and we understand that we’re watching the dress rehearsal of the play ‘Nothing On’, and become more and more infatuated with the plot, the more the director Lloyd (played by the brilliant Alexander Hanson) becomes frustrated. Noises Off is a fun ride, and Michael Fryan’s meticulous writing manages to remain hilarious and relevant. 

Felicity Kendal kicks off the show with a charming and quirky Dotty who keeps on repeating the same mistakes and continuously delivers a hilarious performance. As we move on to act two, the company has been touring ‘Nothing On’ for a while, and we get a backstage slapstick of few words and big bold physical theatre. Also, Mathew Horne gets funnier and funnier proving his comedic bone from his previous work is alive and well. 

In a production of this nature, its success inherently depends upon the synergy of the ensemble cast. Although, for the most part, the actors delivered the comedic timing perfectly, there were instances where the orchestrated chaos veered towards a certain muddiness. This primarily manifested itself during moments when the intricate web of relationships among characters was not readily discernible or when the actors failed to collaborate effectively in order to accentuate the central focus of each moment missing the set up of the jokes. Given the intricate complexity of the performance, it is imperative to never lose the point of view of the audience throughout. Regrettably, in those instances when clarity was compromised amidst the flurry of concurrent actions, the potential for additional humour and comedic depth remained largely untapped.

Despite these minor execution issues, Noises Off, at Theatre Royal Haymarket, proved to be brilliantly silly and entertaining for all, making itself more than welcomed at the West End.