There are many laughs in CenterStage Clovis Community Theatre's chipper new production of "Noises Off," but the talented Hayley Galbraith gets one of the best. As the third act of this zany show begins, Galbraith's character -- a dippy former grande dame of British theater who is starring in the play that serves as the "show within the show" part of the storyline -- is supposed to answer a ringing phone on stage.
The phone doesn't ring, of course, because this is one of those backstage comedies in which everything that can go wrong does. Galbraith glares at the phone. Nothing. For a fraction of a second, she scrapes nervously. Still nothing. Finally, in desperation, she fixes her eyes on the receiver, takes a slight gulp and trills out a weak little "riiiiingggggg."
The moment is hilarious. Galbraith hits her beat with just the right amount of annoyance and embarrassment. If she'd overplayed the delivery, it would have seemed too broad. If she'd underplayed it, the laugh wouldn't even have registered. As it stands, it's a moment of comic perfection.
Though it's a standout moment for Galbraith, the fun thing about this production is that most of the rest of the show isn't dominated by one actor or another. Ensemble is the name of the game in "Noises Off," and director Eric Day (mostly) keeps the momentum smooth and the tone crisp.
The hardest thing for me when watching "Noises Off" is recapturing the initial giddy silliness that I felt when I saw it for the first time. (That is, like it or not, one of the hazards of producing a show that has been performed so many, many times in the last decade at the high school, community theater, university and professional level.) It isn't one of those shows that gets better with age, particularly the first act. The best plan for a repeat viewer, I think, is to approach the opening -- when we're first introduced to "Nothing On," the play within the play -- is that it's merely setting the stage for the much funnier second and third acts.
If you haven't yet seen "Noises Off," I don't want to divulge too much, because even a rudimentary discussion of its structure would ruin some of the best gags. Let's just say that "Nothing On" has disaster written all over it from its dress rehearsal on. The cast, led by the suitably named Dotty Otley (Galbraith), professes much love and togetherness as the show lurches toward its first performance. It turns out to be way too much love and togetherness, of course, and as backstage relationships form and fade, these actors' personal lives intrude into the show itself.
I enjoyed each and every one of the ensemble cast: Brent Moser's persnickety Lloyd, Jeff White's blustery Garry, Paige Parker's vacant Brooke, Andrew Cardillo's fussy Frederick, Danette Moser's motherly Belinda, Paul Henry's befuddled Tim, Randy Stump's inebriated Selsdon and Whitney Lafon-Urien's brittle Poppy. Cardillo and White get extra points for above-and-beyond comic physicality involving pants around the ankles and tumbling down stairs.
There are times that director Day pushes the pace a little too quickly, particularly in the frenetic second act, with the result being that some of the physical humor doesn't have a chance to really resonate or breathe. (The audience needs a chance to absorb and appreciate breakneck physical gags just like auditory humor.) But overall, the impact is briskly engaging.
This is the first time I've seen a full-length play in the new Dan Pessano Theatre at Clovis North High School, and what a treat this versatile black-box space has turned out to be. The production team delivers: Kris Cadieux's set is all that it should be for "Noises Off," Jose Garza's sound design works well, and Ben Holley's technical direction is smooth and sure. (He was responsible for the lighting design.) Parker's costumes are effective. I'm pleased that the hard-working theater folks at CenterStage this summer decided to stage two shows instead of one. My advice: Get tickets in advance, because the theater is small, and "Noises Off" is selling out.
Saw it last night.
I disagree with you on several points, Donald.
We've both seen the show oodles of times, so I do agree that seeing Noises Off once is usually enough (you get the shtick by then). This production, however, offered me many new and exciting things to watch.
Paige Parker's take on Brooke was new to me (I've seen it a good dozen times), and I really enjoyed what she brought to the role. I admit, being a creeperdude, I spent much of my time ogling the character of Brooke's body (for those who haven't seen it, she spends much of the show in lingerie), but Parker made me constantly check in with her to see what she was doing with her eyes and gestures. She was the one thing off the cuff that made me laugh the most.
You're right that it's a good ensemble, but there are standouts and standoffish moments for me. I wasn't in love with Brent Moser's Lloyd and could barely understand Randy Stump's Selsden. Danette Moser didn't play around with her role at all, going the safe route.
Middle of the road for me were the stage manager (bland and no pushing the character) and Frederick (he did all the blocking okay, but the acting was pretty safe). Paul Henry did a yeoman's job and his physicality in the 2nd act really made me laugh. Ben Holley's lights were blue and amber, blue and amber, blue and amber. Lord how I tire of such things. The 'backstage' scenes were a bit dark downstage also.
The standouts were your aforementioned Hayley Galbraith. I REALLY wish you hadn't given away the phone ring bit. I understand why you wanted to use it as an example of the stellar timing and acting necessary, but having read your review I waited for it and was therefore deprived of my unique laugh moment when it happened. I won't give away the other two moments of hers that just rocked me laughing in my seat.
Jeff White's physicality was tremendous. While he's slightly limited in his acting talent (he's great for Fresno), he gives it his absolute all every time I see him, and especially here.
I too thought the costumes worked quite well, and really loved the Act II pace (maybe they fixed it up a bit from when you saw it). We're an MTV generation, we can take the frenetics.
Top of the line for me was the set design. I've seen it with bigger sets and actually prefer the smaller space they're given in which to work. Top of the line for Eric Day's directing. He obviously worked them to precision (especially in Act II), but Act III's gags also worked really really well. He cast it well, and isn't the best acting teacher in the world (thus the bogged down first act), but overall this was a tremendous helming.
I wish the curtain call had been quicker, the cookies warmer, and the theatre able to hold more seats, but I really loved this show and recommend it to everyone!
Best part of all?
The Dan Pessano Theatre. No one deserves it more, and it's a lovely space.
Worst part of all?
The directions on the Centerstage website. Folks, whatever you do, do NOT take Shepherd in any way, shape or form. DO buy your tickets online, because there likely won't be any other way to see this show.
Again with the backhanded compliments, Stephen. "Great for Fresno" means absolutely nothing. Does it really hurt that much to just give someone a genuine compliment if it is due? And if Paige Parker has read your comments, she is no doubt now having restless nights thinking about you oogling her in her lingerie. If you fancy yourself a serious writer and theatre critic, which history suggests that you do, then keep your little-boy perversions out of it and offer something of substance.