{"id":11112,"date":"2019-11-21T17:31:00","date_gmt":"2019-11-21T17:31:00","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11112"},"modified":"2020-01-15T16:20:44","modified_gmt":"2020-01-15T16:20:44","slug":"noises-off-the-classic-farce-is-a-west-end-treat","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/11\/21\/noises-off-the-classic-farce-is-a-west-end-treat\/","title":{"rendered":"Noises Off: The Classic Farce is a West End Treat"},"content":{"rendered":"\n

It\u2019s Theatre Thursday!\nToday\u2019s show is Noises Off at <\/em>London<\/em>\u2019s\nGarrick Theatre, playing until January 4.<\/em><\/p>\n\n\n\n

During the mind-boggling \u2018wrong\u2019 choreography of Act II, I\nthought giddily to myself \u201cOmg Noises Off<\/em>\nis like the original Play that Goes Wrong<\/em>!\nI\u2019m going to use that for my title! I\u2019m so clever!\u201d Cut to me after the show,\nlooking at the giant billboards and marquees outside the theatre, and seeing\nthat they are actually using that as the tagline. Smdh. <\/p>\n\n\n\n

Despite not being able to take credit for this clever\nconnection, and despite being seemingly the only person in the world who didn\u2019t\nlearn about this show in high school, I wholeheartedly recommend a trip to the\nGarrick to see the fantastic comedic classic about a bad play that goes to\nabsolute shit, because it is always a good idea to see this play. Noises Off<\/em>, the 1982 British\nfarce-within-a-farce by Michael Frayn, is hysterical, frenzied, ridiculous fun\nno matter how many times you\u2019ve seen it, and this latest West End\nproduction, a transfer from the Lyric Hammersmith, is no exception. <\/p>\n\n\n\n

The show focuses on a small theatre company the night before\ntheir first public performance of the fake (and seemingly terrible) play Nothing On<\/em> \u2013 and then the early morning before\nthat first performance \u2013 and how ill-prepared they are for the quickly\napproaching curtain. Everything goes wrong, all the actor-characters are\ncomplete disasters, and if I were in the audience of Nothing On<\/em> I\u2019d be demanding a refund, and it is all absolute silly\nludicrous perfection. I love when the director character stands up from the\naudience for the first time and starts to reprimand his unnaturally sloppy\ncast, and you get that feeling that everything is going to be great, because\neverything is going to go wrong in the most outlandish and ludicrous ways,\nwithout ever being annoying. <\/p>\n\n\n\n

This play is so well crafted that every time you think\nthey\u2019ve done all they can with one joke or storyline, they elevate it. Just\nwhen you think \u2018okay, please not another joke about sardines,\u2019 they use the\nendless plates of sardines in another ridiculous manner, or they add another\nabandoned plate, and it\u2019s preposterous that it\u2019s hilarious. And the perspective\nswitch and time jump of Act II let the comedy unfold in an even more ridiculous\nmanner that never fails to blow my mind. I honestly cannot wrap my head around\nhow director Jeremy Herrin (actual director, not character-director of the\nplay-within-the-play, that\u2019s Lloyd Owen who\u2019s great) (see how confusing it is\nalready!) kept track of all the frenetic nonstop choreography of Act II, let\nalone how the actors do it. How do you communicate what needs to happen when\nwhat needs to happen needs to be wrong? My brain, it explodes. <\/p>\n\n\n\n

And this cast does it all brilliantly. It\u2019s a true ensemble piece where everyone gets a chance to shine, even Tim and Poppy with their hilarious final act front-of-house calls (I would LOVE for that to happen in real life) (I mean I would riot and it would be terrible but my god it would be so funny), and I love that with every new production, there\u2019s a different standout performer, depending on the direction and how the ensemble gels. When I last saw the show, on Broadway, Megan Hilty\u2019s Brooke was the standout, earning a much-deserved Tony nomination for a role that is usually just the ditzy blonde. She made it the funniest part of the whole g-d thing, along with, of course, Andrea Martin\u2019s Dotty. Those two were so sublime, so much funnier than I honestly could have ever imagined their roles to be, that I don\u2019t even recall the role of Garry. Whereas here, Brooke and Dotty were fine, and our Garry (Daniel Rigby) was the standout, making his inability to end a sentence solidly instead of trailing off with a \u2018you know?\u2019 the most comically brilliant acting I\u2019ve enjoyed in a while. His every perfectly pitched \u2018you know\u2019 had us crying. Just as Garry is best with a British actor who really gets how to speak that silly role, I think this show, which is such a British show, is at its best with a British cast, and I never really knew that before seeing this, my first UK production. I mean even aside from all the talk about Inland Revenue. If you need to laugh at ridiculous antics that somehow never get to be irritating, go see this before it closes. <\/p>\n\n\n\n

<\/p>\n\n\n\n

INFORMATION<\/span><\/strong><\/p>\n\n\n\n

We got the restricted view aisle seats of O23 and 22,\nbecause they are significantly cheaper than the rest of the stalls. The\nrestriction comes in the form of a pillar, and it\u2019s really not that bad. It\u2019s\nactually not a true aisle, so you know \u2013 it\u2019s against the wall, but there\u2019s\nenough room to squeeze through around the seat in front (and in front of that\nis a wide open space). It\u2019s a VERY poorly designed stalls section, with lots of\nweird empty spaces and a terrible rake. Also, this is a very poorly priced\nshow. The rest of our row was empty so we moved down to the seats that were\nsold for twice as much if not more. These seats shouldn\u2019t be empty for a\nweekend performance, but as we found when we were looking for tickets, the\nstalls are way overpriced, especially given how claustrophobic and dark they\nseem with the low circle overhang. Shame. <\/p>\n\n\n\n

I definitely recommend sitting in the circle for the Garrick\n\u2013 it\u2019s actually at street level (which is why the stalls below ground seems so\ndungeony), and it\u2019s tiny, and the ladies room is right next to the door to the\nseats, so. <\/p>\n\n\n\n

At our 7:30\ncurtain, Act I ended at 8:41. There\u2019s\na brief pause between Acts II & III, and the show ended at 9:40. Perfect length! <\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Thursday! Today\u2019s show is Noises Off at London\u2019s Garrick Theatre, playing until January 4. During the mind-boggling \u2018wrong\u2019 choreography of Act II, I thought […]<\/p>\n","protected":false},"author":2,"featured_media":11113,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[147],"tags":[],"class_list":["post-11112","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"\nNoises Off: The Classic Farce is a West End Treat - Laughfrodisiac<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laughfrodisiac.com\/2019\/11\/21\/noises-off-the-classic-farce-is-a-west-end-treat\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Noises Off: The Classic Farce is a West End Treat - Laughfrodisiac\" \/>\n<meta property=\"og:description\" content=\"It\u2019s Theatre Thursday! 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