Williamsburg Players' Noises Off is Frantic Fun

Theater Babe Says: "Get off the couch and go!"

Director Kimberly Vernall and her ensemble cast do a commendable job in presenting this challenging comedy full of slamming doors, misplaced clothing, lightning-fast dialogue -- and multiple plates of sardines.

Noises Off is a three act play-within-a-play.  The first and longest act shows us the entire scene from "Nothing On," the play that the actors rehearse and perform throughout the evening under the exasperated guidance of their director, Lloyd, splendidly portrayed by Jim Gandolfo.  During the second act, we view the backstage mayhem that occurs during one of the performances.  The third act returns us to the perspective of their audience from which we watch the scene disintegrate into total chaos, with hilarious results.

Christine Fonsale leads the delightful descent as Dotty/Mrs. Clackett, the comfortably disheveled housekeeper whose plans for a quiet afternoon of watching TV and snacking sardines go awry as the supposedly empty house is invaded by a real estate agent (Larry Shaw, Jr.), his floozy girlfriend (Kat Brouse), the homeowners (Sam Miller and Holly Johnson) and a former burglar (Tony Gabriele) who's having trouble adjusting to retirement.  Ms. Fonsale's accent, a broad Cockney when she's "onstage" and a more refined British dialect when she's not, is consistent and convincing.  Although the other actors also attempt an accent -- the show takes place in Britain and each actor tries to sound like a native -- their efforts are not as successful and sometimes are lost altogether as the pace becomes ever more frenetic.  That inconsistency is noticeable because the script uses British idioms that grate against the more casual American cadence, but does not detract from the enjoyment of the show as a whole.

Ms. Brouse gives a wonderfully vacant performance as the dimwitted but alluring Brooke, and Ms. Johnson is perfectly cast as the troupe's resident gossip.  Kate Goddin's portrayal of Poppy, the assistant stage manager, is satisfactory, but suffers from her insistence on standing perpendicular to the audience.  This could be helped if the podium at which she stands for most of the second act were tilted slightly downstage, but even when Ms. Goddin moves about freely, she tends to square off against the other actors so that we cannot see her face and whatever reactions she might be displaying are hidden by her admittedly pretty hair.

Mr. Shaw's performance improves throughout the course of the show.  Unfortunately, he carries much of the exposition in the first act and, because he fails to project and his diction is often unclear, some of the plot points -- such as notice of the sheik who's expected to arrive at 4 o'clock to tour the house -- are lost.  It would help if Mr. Shaw made more of an effort to stand just a touch upstage where he would be picked up by the shotgun microphones rather than standing directly under or downstage of them.  His physical comedy, most notably displayed during his tumble downstairs, is impressive and offsets his poor elocution.  On Saturday night, Mr. Shaw regrettably revisited that tumble during his curtain call, shamelessly shortchanging Mr. Gandolfo whose bow followed his, and the Theater Babe can only hope that was a one-time error of judgment.

Christopher Kozody is persuasive as Tim, the long-suffering and overworked stage manager.  Mr. Miller is both credible and endearing as the neurotic and self-deprecating Frederick Fellowes.  His well-timed use of a single raised eyebrow is a character trait used to excellent effect.

The show's best moments, however, are when Mr. Gandolfo and Mr. Gabriele light up the stage.  We are first introduced to Mr. Gandolfo through his voice only.  Even without seeing his expression, the fatigue, sarcasm and drive that are the essence of his character are evident from his first round of dialogue, and they are more fully developed as he stalks across the stage, rolling his eyes and alternately haranguing and cajoling performances from the company.  Mr. Gabriele's performance is equally riveting.  His attempts to seize the liquor bottle and his unfettered joy in finally succeeding impeccably tread the difficult line between full-out farce and amateur overacting.  His subtle facial expressions and intonations infuse his character, Selsdon, with wit and warmth, and draw attention to his fine performance without upstaging his fellow cast members.

The two-story, rotating set is ambitious and beautiful.  Designer Steve Olsen admirably met the daunting task of creating a set sturdy enough for nine actors to stomp, slam and even occasionally hop across yet small enough not to overwhelm the modest-sized stage.  The "backstage" set is eerily accurate and the Theater Babe's only disappointment was that it was not more fully dressed, e.g., with hanging, coiled extension cords or other typical backstage accouterments, so that the axe wasn't so conspicuous before it was used.  But that's a very minor flaw in a set that deserved the applause it received in its own right.

The costumes were (if you'll pardon the pun) seamless and artfully enhanced each actor's persona.  As each character entered the set -- Mrs. Clackett with her apron, hideous dress and clashing fuzzy socks ... Brooke with her "tarty" red dress ... the homeowner with her vibrantly colored suit and conservative pearls -- we know who they are because of what they wear, and that permits us to follow the story and understand the action even as the actors "forget" their lines and the dialogue makes no sense.  Ms. King is apparently a new addition to the Williamsburg Players production team and the Theater Babe hopes to see more of her talented work in future productions.

Bottom line?  Noises Off is a tough show to produce and the Theater Babe takes her hat off to Ms. Vernall and her cast, staff and crew for undertaking such an enormous task.  While it has some flaws, overall, this proficient production is well worth the time and the cost of the ticket.  Congratulations to all!

Performances run thru May 5th, Thursday - Saturday at 8 p.m. and Saturdays at 2 p.m.  

at the James-York Playhouse, 200 Hubbard Lane, Williamsburg, Virginia 23185.  

Tickets are $18 for adults, $10 for students with id and can be obtained by 

calling the box office at  (757) 229-0431 or online at williamsburgplayers.org.

 

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.