Noises Off - Teacher Resource Pack

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Noises Off Michael Frayn

Teachers Resource Pack Researched & written by Simon Pollard

Noises Off at The Old Vic (Cast Photos)

Michael Frayn: His Story

Michael Frayn Chronology: Plays & Major Events

Noises Off at a Glance

Farce Around Farce An Introduction from Michael Frayn

Character Breakdown

Nothing On Synopsis Character Breakdown

A Brief History of Farce

A Play-Within-a-Play

A Beginners Guide to Backstage Life Jobs Areas Theatre Lingo Theatrical Superstitions

Designing Noises Off: An Interview with Peter McKintosh

Performing Noises Off: Interviews with Celia Imrie, Jamie Glover and Amy Nuttall

Thoughts from the Cast

Bibliography

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NOISES OFF TEACHING RESOuRCES

Noises Off Contents

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Theatre is what we all do all the time in life - were both performing and being the audience.MichaelFrayn

MichaelFraynwasborninMillHill,Londonon8September1933.Hisfather,TomFrayn,wasatravellingsalesmanandhismotherVioletwasashopassistantandamateurviolinistwhodiedofaheartattackwhenFraynwas12yearsold.Forashorttime,theylivedaboveanoff-licenceinMillHillbeforemovingtoEwellinSurrey,whereFraynandhisyoungersisterJillspentthemajorityoftheirchildhood.HeattendedtheprivateschoolSuttonHighforBoys,beforetransferringtoKingstonGrammarSchoolafterhismothersdeath.

Afterleavingschool,hecompletedtwoyearsofcompulsoryNationalService,duringwhichtimehestudiedRussianandworkedasaRussianinterpreter.ItwasduringthisperiodthathemetandbefriendedtheyoungAlanBennettandtheybeganwritingrevuestogether.HethenwentontostudyatEmmanuelCollege,Cambridge,initiallytakingFrenchandRussianbutlatertransferringtoMoralSciences,asubjectnowmorecommonlyreferredtoasPhilosophy.Ilikedthenamemoralsciences,Fraynsays,No-oneknewwhatitmeantbutitsoundedveryimpressive.Whilstatuniversity,hejoinedtheCambridgeFootlights,thecelebratedstudentcomedyandtheatrecollective.Hewrotemanysketchesforthegroup,althoughunfortunatelyhisfinalyearshowZounds,forwhichhewrotethemajorityofmaterial,wasthefirstinthegroupsrecenthistorynottotransfertoLondon.TheexperienceturnedFraynawayfromthetheatreandhefocusedonotherformsofwriting.

Upongraduating,Fraynembarkedonacareerasajournalist,writingcolumnsandtravelfeaturesforpublicationsincludingThe GuardianandThe Observer.HemarriedGillianPalmer,apsychotherapist,in1960andthecouplehadthreedaughterstogetherbeforetheirdivorcein1990.In1965hewrotehisfirstnovelThe Tin Men,aphilosophicalsatireaboutcomputers,whichwontheSomersetMaughamAwardthefollowingyear.Hecontinuedtowriteaseriesofwell-receivednovelsthroughoutthelate1960s,beforereturningtothetheatrein1970withasetoffourone-actplaysentitledThe Two of Us,directedbyMichaelCodronandstarringRichardBriersandLynnRedgrave.

AlthoughThe Two of Usdidnotreceiveparticularlyfavourablereviews,itranintheWestEndforsixmonthsandgaveFrayntheideaforwhatwastobecomehisbiggestsuccesstodate.Whilstwatchingtheshowfrombackstage,herealisedthatitwasmuchfunnierfromthebackthanthefrontandIresolvedonedaytowriteaplayseenfrombehind.Duringthe1970s,Frayncontinuedtowritenovelsandplays,includinghisfirstfull-lengthfarceAlphabetical OrderandnewtranslationsofworksbyChekhovandTolstoy.In1977hewrotetheone-actfarceExitsforacharityevent,whichin1982hedevelopedintothefull-lengthfarce-within-a-farceNoises OffwhichransuccessfullyattheLyricHammersmithandthenattheSavoyTheatreforfiveyears.

Fraynoncesaid:Youcanclassifyplaysinanynumberofwaysascomediesortragedies;asverseorprose,ashighcomedies,lowcomedies,blackcomedies,tragic-comedies;asartorentertainment.Buthoweveryoudoittheyallfallintotwoevenmorefundamentalcategoriestheyareallhitsorflops.Throughoutthe80sand90sFraynwroteastringofhitsincludingtranslations,farcesanddramas.HisgreatestsuccesseswereBenefactors,aboutthehousingprojectsofthe1960sandtheWorldWar2dramaCopenhagen,whichpremieredattheNationalTheatre,beforetransferringtotheWestEndandBroadway.

FraynmarriedthebiographerandcriticClaireTomalinin1993andtheyhavebeenreferredtoonmorethanoneoccasionasBritainspremiereliterarycouple.In2002,theycompetedagainsteachotherfortheWhitbreadBookoftheYear,withFraynsnovelSpieseventuallylosingoutTomalinsbiographyofSamuelPepys.Frayncontinuestowritenovels,newspaperfeaturesandplays.HismostrecentplayAfterlifewasstagedattheNationalTheatrein2008andseveralofhisotherplaysareintheprocessofmajorrevivals,includingSheffieldTheatres2012trilogyofCopenhagen,DemocracyandBenefactorsandTheOldVicscurrentproductionofNoises Off.

He smuggles ideas into commercially popular forms. His plays are serious comedies about peoples attempts to interpret the world, about the constant battle between the forces of order and disorder, about the search for happiness. MichaelBillington,The Guardian

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Michael Frayn His Story

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Chronology Michael Frayns Career

1933 MichaelJFraynisbornon8September,inMillHill,London.

1957 FrayngraduatesfromEmmanuelCollege,Oxford,withadegreeinMoralSciences(Philosophy).

1965 FraynwriteshisfirstnovelThe Tin Men.

1966 The Russian Interpreter(novel).

1967 Towards the End of the Morning(novel).

1968 A Very Private Life(novel).

1970 FraynwritesThe Two of Us,asetoffourone-actplays.

1973 Sweet Dreams(novel).

1977 Fraynwriteshisfirstfull-lengthplaysAlphabetical Order,CloudsandhisfirstfarceDonkeys Years.

1978 FrayntranslatesChekhovsThe Cherry OrchardandwritesthefarceBalmoral.

1979 FrayntranslatesTolstoysThe Fruits of Enlightenment.

1980 FraynrevisesBalmoral,renamingitLiberty HallandwritesMake and Break(play).

1982 FraynwritesNoises Off,whichpremieresattheLyricHammersmith,winningtheEveningStandardAwardforBestComedy.IttransferstotheSavoyTheatrewhereitrunsforfiveyears.

1983 Noises OffopensattheBrooksAtkinsonTheatreonBroadway.FrayntranslatesChekhovsThree Sisters.

1984 BenefactorsopensattheVaudevilleTheatre,winningtheEveningStandardandOlivierawardsforBestPlay.FraynalsowritesNumber One,atranslationofJeanAnouilhsLe Nombril,andWild Honey,atranslationofapreviouslyunnamedChekhovplay.

1986 FrayntranslatesChekhovsThe SeagullandUncle Vanyaandwritesthescreenplayforthefilm Clockwise,starringJohnCleese. BenefactorsopensattheAtkinsonTheatreonBroadway.

1987 FraynrevisesBalmoralagain,returningtoitsoriginaltitle.

1989 The Trick of It(novel),First and Last(play).

1990 TranslatesTrifonovsExchangeandwritesLook Look(screenplay).

1991 A Landing on the Sun(novel),Audience(play).

1993 Now You Know(novel),Here(play).

1995 FrayntranslatesOffenbachsLa Belle Hlne,renamingitLa Belle Vivette.

1998 FraynwritesCopenhagen,whichisstagedattheNationalTheatre,runningforover300performancesandwinningtheEveningStandardawardforBestPlay.

1999 Headlong(novel).

2000 CopenhagenopensattheRoyaleTheatreonBroadwayandwinstheTonyAwardforBestPlay.Noises OffisrevivedbytheNationalTheatre.

2001 TheNationalTheatresproductionofNoises OfftransferstothePiccadillyTheatre,whereitrunsfortwoandahalfyears.AsimultaneousproductionopensattheBrooksAtkinsonTheatreonBroadway.

2002 Spies(novel).

2003 DemocracypremieresattheNationalTheatre,winningtheEveningStandardandCriticsCircleawardsforBestPlay.

2004 DemocracytransferstotheBrooksAtkinsonTheatreonBroadway.

2008 AcollectionofFraynsintroductionstohisplaysispublishedasStage Directions: Writing on Theatre 1970-2008.HismostrecentplayAfterlifeisperformedontheLyttletonstageattheNationalTheatre.

2009 FraynpublishesTravels with a Typewriter,acollectionoftravelpiecesthathewroteforvariousnewspapersduringthe1960sand70s.

2010 FraynpublishesamemoirabouthisfatherMy Fathers Fortune: A Life.

2011 SheffieldTheatresannounceThe Michael Frayn Season,withplanstostageCopenhagen,BenefactorsandDemocracyaswellasaseriesofreadingsin2012.Noises OffisrevivedbyTheOldVic.

Act ITheplaybeginsduringthefinaldressrehearsalattheGrandTheatre,Weston-Super-MarefortheregionaltourofthenewBritishfarceNothing On.Itislateatnightandtheplayisduetoopentomorrow.Tensionsarerunninghigh,asthedirectorLloydDallasstruggleswithhiscastoftiredandfrustratedactors.Thefactthattheplayitselfisnotverygoodaformulaicfarceinvolvingtaxevasion,aSheikhandvariousplatesofsardinesistheleastofhisproblems.AmonghischiefconcernsareleadingactressDottyOtleywhoappearstohaveforgottenalloftheblocking,theargumentativeGarryLejeunewithwhomDottyishavingarelationship,thealcoholicSelsdonMowbraywhokeepsgoingmissing,senioractorFrederickFelloweswhosewifelefthimthismorningandtheyoungactressBrookeAshtonwhokeepslosinghercontactlenses.Tomakemattersworse,LloydishavinganaffairwithBrookeandalsowiththeinexperiencedassistantstagemanagerPoppy.Astherehearsalcontinues,morerevelationsanddilemmascometolightleadingvariouslytotears,arguments,sicknessandnosebleedsbeforetheyfinallyreachtheendoftheirActIrun-through.

ACT IIAmonthlater,Nothing Onisnowup-and-runningandthecastareabouttoperformamatineattheTheatreRoyal,Ashton-under-Lyne.Thistime,theactiontakesplacebackstagebeforeandduringtheperformance.ThecracksthatwerebeginningtoshowinActIhavegrownbiggerandtherelationshipswithinthecompanyarerapidlydeteriorating.DottyandGarryhavelockedthemselvesintheirrespectivedressingroomsfollowinganargumentandthefraughtsituationisworsenedwhenLloydsneaksbackstagetoseeBrooke.Whentheperformancefinallystarts,thebackstageactioncontinuesinadumb-show*,withtheactorsstrugglingtodealwithSelsdonsdisappearance,GarrysmisdirectedjealousyatFreddie,andBrookesthreatstowalkout.Aspropsaremisplaced,entrancesaremissedandpranksareplayed,theperformancedescendsintochaosandActIendswithPoppyloudlyrevealingtoLloydthatsheispregnant.

*actionwithoutdialogue

Act IIINothing Onisnowheadingtowardstheendofitsten-weektourandisabouttobeperformedattheMunicipalTheatre,Stockton-on-Tees.StagemanagerTimannouncesthattheshowwillbeslightlydelayed,aswehearDottyandBelindascreamingateachotherbackstage.Whentheshowbegins,Dottyislimpinganddistracted,gettinglinesandblockingcompletelywrong.Thingsgofrombadtoworseastheactioncontinues,withtheactorschangingtheplayconsiderably,makingmistakes,tryingtocoverforthemandinevitablymakingeverythingworse.However,underLloydsguidance,thecastmanagetostumbletowardsavaguelyhappyending.

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Noises Off At A Glance

Tim AllgoodTimisthestagemanagerofNothing On.Aswellashavinghisownstagemanagementresponsibilities,heisalsoFreddiesbodydoubleinonesceneandunderstudyforallofthemaleroles.Heisincrediblytiredandoverworked,havingnotbeentobedfor48hours.HeislogicalandsensiblebutfrequentlyfindshimselfoverruledandbossedaroundbyLloyd,particularlyinActII,whenheissenttobuysomeflowersforBrookeinsteadofrunningtheshow.Heisconstantlystressedandclearlynotcomfortableinfrontofanaudience,gettingtongue-tiedandflusteredwhenhehastoapologiseforthelatestartoftheshowinActIII.

Brooke AshtonBrookeisarelativelynewandinexperiencedactress,appearingasInlandRevenuetaxcollectorVickiinNothing On.Althoughshehashadseveralminorrolesonscreen,thisisherstagedebut.SheishavinganaffairwithdirectorLloydDallas,unawarethatheisalsohavingarelationshipwithPoppy.Sheishighlyemotionalandpractisesmeditationtocalmhernerves.Themajorityofthetimesheisoblivioustowhatisgoingonaroundher,rarelylisteningtotheconversationsofherfellowactors.Sheiseagertoimpressandevenwhenthingsgowrongduringtheperformance,shecarriesonregardless,unabletoadapttochangesormistakes.Shewearscontactlenseswhichshehasahabitoflosingandfindsitverydifficulttoseeanythingwithoutthem.

Belinda BlairAformerdancer,Belindaisasuccessfulactress,havingappearedinnumberoffarcesandnowplayingtheroleofFlaviaBrentinNothing On.Ofallthecast,sheisthemostresilient,constantlyrallyingherfellowactorsandsupportingthemthroughtheirvariousdilemmas.However,herconstantlypositiveattitudeseemstograteonothermembersofthecastanditissuggestedthattheremaybeanelementoffalsenesstohersunnydisposition.Sheisthesourceofallgossip,fillingLloydinonthevariousrelationshipsanddramaswithinthecompany.SheisveryprotectiveofFreddieandclashesviolentlywithDottywhenshethinksthatthereissomethinggoingonbetweenthem.

Lloyd DallasLloydisthedirectorofNothing On,althoughhisheartdoesnotseemtobeinit.InActIheistiredanddesperatetofinishthedressrehearsalandhisstresslevelsriseastherehearsalisconstantlybroughttoastandstillbyvariousmembersofthecast.Mostofthetimehepreventshisangerfromshowingbypatronisingtheactors,referringtothemasloveandhoneyandmakingsnideremarksattheirexpense.HeishavingaffairswithBrookeandPoppy,althoughitisclearthathisaffectionsliemorewithBrooke.Whenhistemperreachesburstingpoint,heventshisfrustrationsatBrooke,cruellyhumiliatingherinfrontoftherestofthecast.Duringhisvisittotheproductionontour,heisunwillingtodoanythingtohelptheshow,prioritisingspendingtimealonewithBrooke.However,attheendoftheplay,itishisquickthinkingthatsavestheperformance.

Frederick FellowesFreddieisaseasonedactor,mostwell-knownforhisappearancesinvariousTVhospitaldramas,whoplaystherolesofPhilipBrentandtheSheikhinNothing On.Hehasaverynervousdisposition,sufferingfromnosebleedswheneverheisfacedwithviolenceandisovercomewithdizzinessatthesightofblood.HeseemswearyandstressedduringActIandwelaterfindoutthatthisisbecausehiswifehaslefthimthatmorning.ReferredtobyGarryasthatpoorhalfwit,heisnotparticularlyintelligentandforthemostpartofActIIiscompletelyunawareoftheimpacthisplatonicchatwithDottyhashadonherrelationshipwithGarry.

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Noises Off Character Breakdown

Garry LejeuneGarryisafairlywell-knownactorwhoplaystheroleofestateagentRogerTramplemaininNothing On.HeishavingasecretrelationshipwithDottyOtley,withwhomhepreviouslyactedinthesitcomOn The Zebras.Heiswell-meaning,constantlytryingtokeepthecastsmoraleupbutalsoargumentativeanddefensive,frequentlystandinguptoLloydduringActI.However,themajorityofthetimehecomesacrossasinarticulatewhenhetriestoexpresshimself,frequentlyleavingsentencesunfinishedandhislistenersconfused.HetakeshimselfandhisworkveryseriouslyandisincrediblypossessiveofDotty,turningtoviolenceagainstFreddieinActII,whenhebelievesheisbeingcheatedon.However,hetriestoremainasprofessionalaspossiblethroughoutActIII,despitethevariousproblemsthrownathim.

Selsdon MowbraySelsdonisanelderlyShakespeareanactor,whohasonlyeverplayedsupportingrolesthroughouthiscareer.HeplaysthesmallroleoftheBurglarinNothing On.Heisapparentlyhard-of-hearingandfrequentlymisseshiscuetoenter,althoughLloydsuggeststhatactuallyhecanhearbetterthanIcan.However,whenheisonstage,heisanenthusiasticactor,deliveringeachofhislinesasifitisaShakespeareanmonologue.Unfortunatelyhefrequentlyforgetshislines,freezingmid-sentenceandwaitingforaprompt.Heisalsoanalcoholicandbecauseofthisheisfalselyaccusedofhidingmultiplebottlesofwhiskyaroundtheset.

Poppy Norton-TaylorPoppyistheinexperiencedbutwell-intentionedassistantstagemanagerofNothing On.Aswellasbeingresponsibleforcuingtheshow,Poppyisunderstudyforallofthefemalecharacters.ShehasrecentlybeenhavingasecretrelationshipwithLloydandattheendofActIIwefindoutthatsheispregnantwithhischild.Despitethefactthatshefrequentlygetstheblamewhenthingsgowrong,sheisstillinlovewithhim.Sheisveryhighly-strung,constantlyonthevergeoftearsandbecomesveryjealousofBrookewhenshefindsoutthatshehasalsobeeninvolvedwithLloyd.

Dotty OtleyDottyistheleadingactressoftheNothing Oncompany,playingMrs.Clackettthecockneyhousekeeper.FamousforherroleasMrs.HackettthelollipopladyintheTVsitcomOn The Zebras,aswellashermanystagerolesplayingsimilarcharacters,sheisnotonlystarringin,butalsofinancingthisproductionofNothing On,usingherlifesavingsinthehopethatshecanputalittlesomethingby.Sheisforgetful,gettingherlinesandmoveswrongthroughoutActI.Nevertheless,sheisanexuberantactress,playingtherolewithenergyandgoodcomictiming.Sheenjoysbeingthecentreofattentionandisflirtatious,causingGarryayoungeractorwithwhomsheishavingarelationship-tothinksheischeatingonhimwithFreddie.SheisalsoshowntobesomethingofadramaqueeninActII,whensheinitiallyrefusestoperformandhasaviciousstreakwhichseeshertyingGarrysshoelacestogether.Bytheendoftheplaysheisbehavingveryunprofessionally.However,withLloydshelp,itisshewhoultimatelysavestheplaywithherquickthinking,asitdrawstowardsthefinalcurtain.

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Farce Around Farce An Introduction from Michael Frayn

Michael Frayn charts the progress of Noises Off from its inception in 1977.

Thisplayhasgonethroughmanydifferentformsandversions.Itbeganlifeasashortone-acterentitledExits,commissionedforamidnightmatineeoftheCombinedTheatricalCharitiesattheTheatreRoyal,DruryLane,on10September1977,whereitwasdirectedbyEricThompsonandplayedbyDenisQuilley,PatriciaRoutledge,EdwardFox,DinsdaleLandenandPollyAdams.MichaelCodronthereuponcommissionedafull-lengthversion,andwaitedforitwithintermittentpatience.MichaelBlakemore,whowastodirectit,persuadedmetorethinkandrestructuretheresultingtext,andsuggestedagreatmanyideasthatIincorporated.AftertheplayhadopenedattheLyricHammersmithin1982,Ididagreatdealmorerewriting,andwentonrewritinguntilNickyHenson,whowasplayingGarry,announcedonbehalfofthecast(ratherasGarryhimselfmighthavedone)thattheywouldlearnnofurtherversions.TheplaytransferredtotheSavoyTheatreandranuntil1987withfivesuccessivecasts.Fortwoofthecast-changesIdidmorerewrites.IalsorewrotefortheWashingtonproductionin1983,andIrewroteagainwhenthismovedtoBroadway.WhentheplaywasrevivedattheNationalTheatrein2000Irewroteyetagain.SomeofthechangeswereonesthatIdbeenlongingtomakemyselftheresnothinglikehavingtositthroughaplayoverandoveragaintomakeyourfingeritchforthedeletekeywhilemanymorechangesweresuggestedbymynewdirector,JeremySams.WhatvicissitudesithasbeenthroughinotherlanguagesIcanmostlyonlyguess.InFranceithasbeenplayedundertwodifferenttitles(sometimessimultaneouslyindifferentpartsofthecountry),andinGermanyunderfour.Iimaginethatitsoftenbeenfreelyadaptedtolocalcircumstances,inspiteoftheprohibitionsinthecontract.InFrance,certainly,myBritishactorsandthecharacterstheyareplayingturnedintoFrenchmen,inItalyintoItalians(whointroducedaSardineSongbetweentheacts).InBarcelonatheywereCatalan-speakingactorsplayingSpanish-speakingcharacters;inTampere,inFinland,theywererobustnorthernersspeakingtheTamperedialectandplayingeffetesouthernerswithHelsinkiaccents.OntheJapanesepostertheyallappeartobeJapanese;ontheChineseposterChinese.InPraguetheyperformedtheplayforsometenyearswithoutActThree,andnoonenoticeduntilIarrived.Farceseemstogatherfarcearoundit.OneChristmasinSicilytwodifferenttouringproductions,onelawfullycontracted,onenot,likehusbandandloverinafarce,turnedupinCataniaatthesametimetotheirmutualsurprise;lawsuitsfollowed.In2000,re-readingtheEnglishtextthathadbeeninusefortheprevious15years,Idiscoveredanumberofbizarremisprints,andIsuspectthatdirectorsaroundtheworldhadbeendriventosomequiteoutlandishdevicestomakesenseofthem.Nowthepresentdirector,LindsayPosner,withevenmorescrupulousscholarship,hasdiscoveredafewmore,andIdontliketothinkhowmanyRogerTramplemainsinthepast11yearshavebeenexitingintothebedroomcupboardandemergingdutifullybutinexplicablytwolineslaterfromthelinencupboard.

This authors note is adapted from the Methuen text of the play.

Act I

TheplaybeginsonaWednesdayafternooninaconverted16thcenturypossetmill,25milesoutsideofLondon,withlotsofdoors.AphoneringsandMrsClackettthehousekeeperenterstoanswerit.Welearnthattheownerofthehouse,PhilipBrentaplaywrightandhiswifeFlavia,arenowlivinginSpainandthehouseisupforrent.WealsolearnthattodayisMrsClackettsafternoonoffbutthatsheisgoingtostayforawhilelongertoeataplateofsardinesandwatchtelevision.AsMrsClackettexits,RogerTramplemainanestateagententers,pretendingtohiscompanionVickiataxclerkthatthisishishouse.ItisclearthatRogerandVickiarebothdesperatetosleepwitheachother.However,theyareinterruptedbyMrsClackettwhohasmisplacedhersardines.

MrsClackettreturnstoherservantquartersandRogerandVickidisappearintothemasterbedroom,atwhichpointthefrontdooropensandPhilipandFlaviaarrivehome,believingthehousetobeemptyasitisMrsClackettsafternoonoff.TheyhavecomehometocelebratetheirweddinganniversarybutneedtomakesurethattheInlandRevenuedontknowtheyreintheircountry,sothattheydontlosetheirclaimtoberesidentabroad.WhentheyareinterruptedbyMrsClackett,theytellhertopretendthatshehasntseenthem.

AsRogerandVickigrowincreasinglyconcernedthatthereissomethingcreepygoingonduetothenoisestheycanhearandobjectsthatkeepbeingmovedaroundthehouseandPhilipmanagestogluehimselftoataxdemandthatherealisesheshouldnthaveopened,anelderlyburglarbreaksinthroughadownstairswindowandbeginstoworkhiswayaroundthehouse.

Thevariouscharactersstresslevelsriseandtheycontinuetomovearoundthehouseatgreatspeedunawareofeachotherspresence.Chaosensues:Vickiislockedinthelinencupboardwearingonlyherunderwear,Philipstrousersfalldown,PhilipmistakesRogerforataxinspector,RogermistakesPhilipforasexmaniacandcallsthepolice,FlaviafalselyaccusesPhilipofhavinganaffairwithVickiandVickiisrevealedtobetheburglarsdaughter.Asifthingscouldntgetanyworse,asheikharrives,interestedinrentingthehouse.AsthesheikhwhoisthespittingimageofPhilipispromptlyattackedbyFlavia,VickiandRoger,theburglarreflectsthatwhenallaroundisstrifeanduncertainty,theresnothinglikeagoodold-fashionedplateofsardines!

Curtain

WeneverfindoutwhathappensinActs2and3ofNothing On.

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Nothing On Synopsis

Mrs ClackettMrsClackettistheBrentsfriendlyhousekeeper,whosesoleintentionthroughouttheplayistoputherfeetupandwatchthetelevision,whilstenjoyingaplateofsardines.Sheiswell-meaningbutditzy,notalwaysunderstandingwhatotherssaytoherandconstantlymisplacinghersardines.

Roger TramplemainRogerisajuniorestateagentinhisearlythirties,whoconvincesVickithattheBrents16thCenturyconvertedpossetmillishisownhouse,inthehopethatshewillsleepwithhim.Heiseasilystressedandbecomesincreasinglyexasperatedbythesituationhehasfoundhimselfin.

VickiVickiisanattractivebutslow-wittedwomaninherearlytwenties,whoworksfortheInlandRevenue.Shetakesherworkveryseriously,butisdesperatetogetRogerintobedandgulliblybelievesthatheownsthehouse.AttheendofActIwediscoverthatsheranawayfromhomewhenshewasyoungandthattheburglarisherestrangedfather.

Philip BrentPhilipisaplaywright,currentlylivinginMarbellatoavoidpayingtax.HehasreturnedtohisUKhometocelebratehisweddinganniversarywithhiswifeFlavia.Heisaccident-prone,easilyflusteredandallowshimselftobedominatedbyhiswife.

Flavia BrentFlaviaisPhilipswifeanditisclearthatshewearsthetrousersintheirrelationship.Sheisglamorousandpamperedandenjoyslivingthelifeofluxurythatsheandherhusbandhaveaffordedthemselves.SheisdevastatedandfuriouswhenshemistakenlythinksthatPhiliphasbeenhavinganaffair.

BurglarTheburglarisanelderlycriminal,whobemoansthefactthathisjobisnowsoeasy,nostalgicforthedayswhenbreak-insweremoredifficult.Heisquickwittedandmanagestogethimselfoutofstickysituations.AttheendofActI,heisrevealedtobeVickisfather.

SheikhThesheikhisavisitorfromoverseaswhoisinterestedinrentingtheBrentshouse.Forinexplicablereasons,helooksexactlythesameasPhilip.

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Nothing On Character Breakdown

Thats what its all about. Doors and sardines. Getting on getting off. Getting the sardines on getting the sardines off. Thats farce. Thats the theatre. Thats life.LloydDallas, Noises Off

ThewordfarceisderivedfromtheLatinwordfarciremeaningtostuff,areferencetothefirstfarceswhichwerewrittenasshortcomicfillersforaneveningsentertainment,stuffedbetweentwolonger,moreseriousplays.AccordingtotheOxfordConciseDictionaryofLiteraryTerms,farceisakindofcomedythatinspireshilaritymixedwithpanicandcrueltyinitsaudiencethroughanincreasinglyrapidandimprobableseriesofludicrousconfusions,physicaldisastersandsexualinnuendos.

Keythemesthathavecometobeseenasthestapleingredientsoffarceare:- Themesofmistakenidentity,maritalinfidelityandclassdivision- Stockcharactersincludingthecraftyservant,thelecherousoldmanandthebimbo- Menintheirunderwear- Womenintheirunderwear- Fastentrancesandexits- Slapstickcomedy,suchaspeoplefallingoverorbeingaccidentallyhit

InhisexplorationofphysicalcomedyWhy is That So Funny?JohnWrightdescribesthereactionthataudienceshavetofarceastheviscerallaugh,anincontrollableautomaticresponsewhentheeventsaroundusappeartobemovingfasterthanwhatsgoingoninourheads.Anaudienceofanyageorclasscanappreciatethevisceralhumouroffarceandforthisreason,farceasagenrehasahistoryofbeingheldinlowesteembycriticsandhighbrowtheatregoers.InNoises Off,Fraynusesthistohisadvantage,mockingthetrivialityoffarce,whilstsimultaneouslycreatingasophisticatedandperfectly-craftedexampleofthegenre.

Elementsoffarce,aswithallgenresofcomedy,canbetracedbacktoAristophanescomediesofAncientGreeceandPlautusofAncientRome,whichfrequentlyfeaturedlewdhumour,physicalcomedyandgrotesquecharacters.TherearealsosimilaritieswithintheshortKyogenplaysthatoriginatedinJapaninthe14thCentury.However,itwasntuntilthemid-16thCenturyandtheadventoftheCommediadellarteinItalythatfarceasweknowitreallybegantotakeshape.Withitsslapstickcomedy,stockcharactersandfrequentthemesofmistakenidentityandadultery,itiseasytoseetheinfluencethatcommediadellartehashadonfarce.

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A Brief History of Farce

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1594 HeavilyinfluencedbyPlautusThe Menaechmiandthestockcharactersofcommediadellarte,WilliamShakespearesThe Comedy of Errorsexploresthethemesofmistakenidentityandaccidentaladultery,relyingheavilyonphysicalcomedyandvisualgags.

1743 CarloGoldonisA Servant of Two Masterswasanattempttocraftthecharactersandplotsoftheimprovisedcommediadellarteintoawrittentext.

1851 EugneLabicheisusuallyseenasthegodfatheroftheEuropeanfarceandThe Italian Straw Hatisthemostfamousofhisworks.

1892 Charleys AuntbyBrandonThomastellsthestoryoftwofriendswhopersuadeaLordtodisguisehimselfasoneoftheiraunts.ItiswidelyregardedasthefirstmodernBritishFarce.

1885 ArthurWingPinerowroteaseriesofCourtFarces,whichsatirisedtheBritishJudicialSystemandthosethatworkedwithinit.ThemostsuccessfuloftheseplayswasThe Magistrate

1895 OscarWildewasfamousforhistakeonthecomedyofmannersgenre.AlthoughThe Importance of Being Earnest isnotafarce,itsstyleandconstructioncontainedelementsthatheavilyinfluencethefarcesthatcameafterit.

1907 GeorgesFeydeausfarces,includingA Flea In Her Ear,providedtheprototypeforwhatwastobecomethebedroomfarcewithits116exitsandentrancesthroughmultipledoorsandcharactersintheirunderwear.

1925 Althoughnotstrictlyafarce,NoelCowardscomedyHay Fevercontainsmanyofthekeyingredients,includingacountryhousesetting,surprisevisitorsandrecognisablestockcharacters.

1926 Rookery NookbyBenTraversisoneofmanyAldwychFarceswhichhewrotefortheAldwychTheatrefrom19251933.ItisremarkablysimilarinitsplotandconstructiontoNothing OninNoises Off.

1945 PhilipKingsSee How They Run,pavedthewayforsixteenyearsofWhitehallFarcesattheWhitehallTheatre(nowtheTrafalgarStudios)underthedirectionofLordBrianRix.

1962 MarcoCamolettisBoeing-Boeing,aboutanarchitectandhisthreeflightattendantfiances,wastranslatedbyBeverlyCrossandranforsevenyearsintheWestEnd.In1991itenteredtheGuinnessBookofRecordsasthemostfrequentlyperformedFrenchplayworldwide.

1969 JoeOrtonsubvertedthegenreasavehicleformakingsocialcommentary,writingseveralfarcesincludingWhat The Butler Saw,whichwassetinapsychiatrichospital.

1971 AnthonyMarriottsbedroomfarceNo Sex Please, Were British,involvingacouplewhomistakenlyorderalargeamountofScandinavianpornography,receiveddreadfulreviewsbutwasembracedbytheBritishpublic,runningintheWestEndfornearlyadecade.

1975 AlanAyckbournwroteaseriesofsophisticatedfarces.Despiteitsname,Bedroom Farcedoesnotfollowmanyconventionsofthetraditionalbedroomfarce.

1975 AlthoughmanyofBrianRixsWhitehallFarceshadbeentelevised,itisFawlty TowersbyJohnCleeseandConnieBooththatiscreditedwithpopularisingfarcewithtelevisionaudiences,withitsabsurdsituations,slapstickhumourandstockcharacters.

1982 BuildingonthesuccessofFawlty Towers,Allo Allowasanotherpopularfarce-basedsitcom,setinFranceduringWorldWar2.

1982 MichaelFraynsNoises Offelevatedthegenre,bycreatingaself-referentialfarce-within-a-farce.

1983 HavingappearedinmanyofBrianRixsWhitehallfarces,RayCooneywentontowritemanyofhisown,includingRun For Your Wife,whichbecametheWestEndslongestrunningfarce.Duetohismasteryoftheform,CooneyisreferredtoinFranceastheEnglishFeydeau.

2009 MirandaHarttookthekeyingredientsoffarceincludingludicroussituationsandbroadphysicalcomedy,tocreatetheaward-winningsitcomMiranda.

2011 TakingGoldonisAServantofTwoMastersandresettingitin1960sBrighton,RichardBeansOne Man Two Guvnorscreatedahugelypopularcontemporaryfarce,basedonfarcesoriginalCommediadellarteorigins.

20 Key Moments in the History of Farce

Noises Offisoneofthemostfamousexamplesoftheplay-within-a-playtradition,whichisitselfoneexampleofmetatheatre,definedintheOxford Dictionary of Literary Termsasanymomentofself-consciousnessbywhichaplaydrawsattentiontoitsownfictionalstatusasatheatricalpretence.

Inherexplorationofthegenre,PilarZozayawritesthatforawriter,aplay-within-a-playbecomesaveryvalidmeanstomakehisaudiencethinkaboutthefictionalityofreallifeandtherealityoffiction;and,ifitsformisthatofthemock-rehearsaltheplaywrightisfurnishedwiththeformulathatwillenablehimtopointouttheflawsandenhancethevirtuesofthetheatreandtocommentlargelyonthestateofthetheatreofhistime.However,MarkFisher,writingforthe Guardian,suggeststhatplaysthatcontainplayswithinthemareshowsthatrequiresomethingofinsiderknowledgetogetafullunderstandingofwhatthewritersaretryingtodo.

Otherfamousexamplesinclude:

Hamlet by William ShakespeareAspartofhisplantoconfronthisuncleClaudiusoverthemurderofhisfather,HamletemploysagroupofactorstoadaptandperformaplaycalledThe Murder of Gonzagoinwhichakingismurderedbyhisnephew.AccordingtoHamlethimself,thepurposeofplayingistoholdastwerethemirroruptonature,andthustheactionoftheplayreflectsreal-lifeevents.HamletrenamestheplayThe Mousetrapsayingthattheplaysthething/whereinIllcatchtheconscienceofaking.AsanaudiencewatchingHamlet,weareencouragednotonlytowatchThe Mousetrapitselfbutalsothemembersofitsaudience.

A Midsummer Nights Dream by William ShakespeareOneoftheseveralplotsofA Midsummer Nights DreamfollowsagroupofmechanicalslocalcraftsmenastheyrehearseaperformancefortheweddingofTheseusandHippolyta.TheirprocessisfraughtwithdifficultiesnotleasttheirleadactorBottomhavinghisheadreplacedwithadonkeys.However,inthefinalsceneoftheplay,theyperformThe Most Lamentable Comedy and Cruel Death of Pyramus and Thisbe,whichechoesA Midsummer Nights Dreamsthemesofforbiddenloveandgenerationaldivide.

The Beggars Opera by John GayTellingthestoryofthenotorioushighwaymanMacheath,thewholeofThe Beggars Operafunctionsasaplay-within-a-play,apartfromashortframingsceneatthebeginninginwhichweareintroducedtoanarratorapparentlythewriteroftheplayweareabouttowatchwhotheninterruptstheactiontowardstheendoftheplay,savingMacheathfromthegallowsandofferingtheaudienceahappyending.Recentproductionshavedevelopedthisframingdevice,mostnotablyOutofJointsThe Convicts Opera.

Six Characters In Search of an Author by Luigi PirandelloInPirandellossatiricalandsurrealexplorationoftheatre-making,adirectorandhiscastofactorsareinterruptedduringarehearsalbyanunnamedgroupofsixpeoplewhowanttheirstorytobeperformed.Astheplayprogresses,thelinesbetweenrealityandfictionbecomeblurred,notonlyforustheaudiencebutforthecharactersthemselves.Theplayendsintragedywiththedirectorunsureastowhetherthetragedyisrealornot.

The Real Thing by Tom StoppardThefirstsceneofThe Real Thingseesahusbandfalselyaccusinghiswifeofhavinganaffair.Itisnotuntilthesecondscenethatwerealisethatthepreviousscenewasaperformanceofaplaywrittenbyoneofthecharactersandperformedbyhiswifeandfriend.Thisfakeopeningsetsthetonethematicallyforaplaythatgoesontoexplorethenotionsoffidelityandperformativity.FurthermetatheatricallevelsareaddedasoneofthecharactersbeginsrehearsingforaproductionofTis Pity Shes a Whore,andwhenoneconsidersthepotentiallyautobiographicalresonanceswithStoppardhimself.

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A Play-Within-A-Play

I dont know why the author came into this industry in the first place. I dont know why any of us came into it.LloydDallas,Noises Off

Asaplayaboutaplay-within-a-play,Noises Offinvitestheaudiencetoseewhatisusuallyunseen,tosuchanextentthattheymayneverwatchaperformanceatthetheatreinthesamewayagain,constantlywonderingwhatactiontheyaremissingoutonbehind-the-scenes.Forthosestillkeentoknowmoreabouttheworldofthetheatre,heresabeginnersguidetothebusinesswecallshow

Jobs

Producer Theproduceroverseesthewholeoftheproductionprocesswhilstsupportingthecreativeteamandisprimarilyinchargeoftheproductionbudgetandfinance.AlthoughtheproducerofNothing On goesuncredited,wearetoldthattheproductioncompanyiscalledOtstarProductionsand,asshehasfinancedthetourherself,weareledtobelievethatDottyisproducingtheplayherself.

Writer Thewriterisresponsibleforwritingtheplay.Occasionallytheymaybeinvolvedintherehearsalprocessbutusuallytheirresponsibilitiesendoncetheplaybeginsrehearsals.TheunseenwriterofNothing OnisRobinHousemonger.

Director Thedirectorisresponsiblefortheoverallvisionoftheproductionandbycollaboratingwiththecastandcreativeteam,theybringthisvisiontolife.LloydDallasisthedirectorofNothing On.

Designers Thedesignersareresponsibleforthewayaproductionlooks.Oftenonepersonwilldesignthesetandcostumes,althoughthesearesometimesseparateroles,asinNothing On.ThesedesignerswouldalsoworkalongsideaLightingDesignerandsometimesaSoundDesigner.

Lead Actors Theleadactorsarethoseplayingthemostimportantroles.Usuallyitistheirnameswhichareusedtohelpselltheshowandthismaybereflectedinthebillingandsalary.InNothing On,DottyOtleyisconsideredtheleadingactress,eventhoughMrs.Clackettisnotnecessarilythemostcrucialrole.

Supporting Actors Thesupportingactorsplaytheotherroleswithintheproduction.DespitethefactthatDottyreceivestopbilling,Nothing OnlikeNoises Offisanensembleproductionwhichmeansthatthepartsareallofsimilarweightandthattheusualdivisionofleadingandsupportingactorsdoesntreallyapply.

understudies Itistheunderstudysresponsibilitytolearnthelinesandmovesofatleastoneoftheactorsinacompanyandtoalwaysbepresentthroughouttheperformance,readytogoonstageincaseofanemergency.Insomeproductions,understudiesplaysmallerroleswithinthecompany;inotherssuchasNothing Ontheyalsoworkasstagecrew.InNoises Off,therearefourunderstudies,eachunderstudyingatleasttwoactors.

Stage Manager Thestagemanagerisresponsibleforthesmoothrunningoftheshowoncerehearsalshavefinished.Throughouttherehearsalprocesstheyarealsousuallyinchargeofacquiringandmaintainingthepropsandset.TimisthestagemanagerofNothing On.

ASM Theassistantstagemanagersupportsthestagemanagerthroughouttherehearsalandperformanceperiod.Theyareresponsibleforbeingonthebookcuinglightingandsoundeffectsandpromptingtheactorswhennecessary.PoppyistheASMofNothing On.

Production Team Largerproductionsmayhaveawholeteamofpeopleworkingonvariousdifferentareasofproduction.TheseincludethoseworkinginMarketing,Press,Development,FrontofHouseandEducationdepartments.

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A Beginners Guide to Backstage Life

Theatre Areas

Auditorium Theauditoriumisthespacewhichcontainsboththestageandaudienceseating.

Stalls Thestallsaretheseatsonthegroundfloorofanauditorium.Inmosttheatres,theywillbeonaslightrake,ensuringthataudiencememberscanseeovertheheadsofthoseinfrontofthem.

Circle Thisistheareaofaudienceseatingonthefirstfloor,abovethestalls.

Balcony Thisisthehighestlevelofseating,generallyonthe2ndor3rdfloor.Itisoftenreferredtoasthegodsasitissohigh.InsometheatresthisisreferredtoastheUpperCircle.InTheOldVic,itisknownastheLilianBaylisCircle.OthertheatreshaveanUpperCircleandthenaBalcony.

Stage:Inaprosceniumarchstage,suchasTheOldVic,thestageisusuallyraisedandonaslightrakewhichmeansitslopesdownwardstowardstheaudience.Thesepositionsarealwaysgivenfromtheactorsperspective.

Downstage (DS) Theareaonstageclosesttotheaudienceupstage (uS) TheareaonstagefurthestawayfromtheaudienceStageLeft (SL) Theareaonstagetoanactorsleft,ortotheaudiencesrightStage Right (SR) Theareaonstagetoanactorsright,ortotheaudiencesleftCentre Stage (CS) Theareaonstageinthecentre

Fromtheseterms,morespecificareascanbereferredto,suchasDSC(downstagecentre),USR(upstageright)etc.

Backstage:Dressing Rooms Thedressingroomsarewheretheactorspreparetogoonstage,withfacilitiesforthemtoget

changed,applymake-upandoftentowashandshowertoo.Insmallercompaniesactorsmayhavetheirownindividualdressingroomsbutusuallytheywouldsharewithatleastoneotheractor.

Green Room Thegreenroomisanareaforthecastandcrewtorelaxtogetherbeforeandduringaperformance.Itisnotalwayspaintedgreen.Thereismuchdebateastotheoriginofthisterm.Suggestionsincludethenotionthatactorsperformingoutsidewouldhavehadtowaitfortheirentrancesbehindabush,orthattheywouldhavecreatedadenusinggreenmaterial.Othershavesuggestedthatgreenreferstothenewandinexperiencedactorswhowouldhavetowaitthere.OneofthemostpopularexplanationsisthatgreengageisCockneyrhymingslangforstageandsoshortened,thestageroombecamethegreenroom.

Prompt Corner Thepromptcornerisanareabackstagewithadeskandlight,wheretheASMsitsduringaperformanceandcuestheshow.

Wings Thewingsaretheareaseithersideofthestage,fromwhichtheaudiencesmaketheirentrancesandexits.Theyarecalledwingsbecausetraditionallytheyconsistedoflargecurtainswhichhunglikewingsoneithersideofthestage.

Front-of-House Front-of-houseistheareainwhichtheaudiencewaitbeforetheshowandduringtheinterval.Itwouldusuallyconsistofafoyer,bar,toiletsandboxoffice.

Box Office Theboxofficeisthedeskfromwhichaudiencesbuyandcollecttheirtickets.Itiscalledtheboxoffice,becausetraditionallythesalesclerkwouldsitorstandinasmallboxedroom,sellingticketsthroughasmallwindow.

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Theatre Lingo

Beginners Thebeginnersaretheactorswhoappearonstageinthefirstsceneofaplay.Beginnersisalsousedtorefertothebeginnerscallwheneveryoneshouldbeinpositionfiveminutesbeforethecurtainup.

Blocking Blockingreferstoallofthemovesthatanactormakesonstage,includingentrances,exits,sittingdown,standingupandgestures.

Calls ThecallsaremessagesgiventotheactorsoraudiencebythestagemanagerorASMoverthetannoysystem,informingthemwhentheperformanceisabouttobegin.Thecallisgiveninrelationtobeginnerssothe30minutecallisgiven30minutesbeforebeginnersiscalled,or35minutesbeforethecurtaingoesup.

Corpsing Ifanactorlosesfocusandlaughsonstage,theyareguiltyofcorpsing.Thephraseisgenerallythoughttoderivefromwhenanactorhadtoplayadeadbodyandotheractorswouldtrytomakethemlaugh.

Curtain Curtainnotonlyreferstothephysicalcurtainwhichwouldtraditionallyberaisedatthebeginningofashowandloweredattheend,butalsotothefinalmomentoftheshowwhenthecurtaingoesdown.

Digs Anactorsdigsaretheirtemporarylodgingsduringatour.

Dress Rehearsal Thedressrehearsalordressisthefinalrun-throughofaproductionbeforeitisperformedforthegeneralpublic.Usuallythesearerunwithoutstopping,underperformanceconditions,withfullcostume,lightsandmake-up,butasinNoises Offthisisnotalwaysthecase.

Elecs (LX) ElecsorLXisshortforelectricalsandisusedbytheproductionteamtorefertothelightingcuesofashow.

Exeunt Exeuntisthestagedirectiongivenwhenmorethanonecharacterhastoleavethestage.

Line Anactorslineisthedialoguethatheorshemustdeliver.Ifanactorcallslineduringaperformanceorrehearsal,theyhaveforgottentheirlineandareaskingtheASMtopromptthem.

Matine Amatineisaperformancetakingplaceduringthedayratherthantheevening.AlthoughitisderivedfromtheFrenchwordmatinmeaningmorning,amatineusuallytakesplaceintheafternoon.

Noises Off NoisesOffreferstosoundspecificallytalkingheardoffstageorbackstageduringaperformance.

Props Propsorpropertiesareitemsusedbyactorsduringaperformance.KeypropsinNothing Onincludeboxes,bagsandplatesofsardines.

Technical Rehearsal Thetechnicalrehearsalortechistherehearsalinwhichtheelementsoflighting,soundandsetarefine-tunedintheleaduptothedressrehearsal.Traditionallytheyarelongandarduouswithfrequentstoppingandstarting,whichiswhyActIofNoises Offfeelsmorelikeatechthanadresstotheactors.

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Theatre Superstitions

Peoplewhoworkintheatrearetraditionallynotoriouslysuperstitiousandmanybeliefsmostofwhicharestrangeanddifficulttoexplainarestilladheredtoinordertopreventbadluck,financialruinanddeath.

Bad Dress RehearsalItisawidely-heldsuperstitionthatifashowhasabaddressrehearsal,itwillhaveagoodopeningnight.Theoriginsofthissuperstitionareunclearbutitmaysimplyhavegrownfromadirectortryingtoencourageandreassureacompanyintherun-uptoopeningnight.Theremayalsobeanelementoftruthinithavingabaddressrehearsalmaygiveactorsnervousenergy,encouragingthemtobeasalertandfocusedaspossibleduringthefirstperformance.

Break a Leg!Itisconsideredbadlucktowishanactorgoodluckbeforeaperformance,asitmaybeconsideredtofillthemwithfalseconfidence.Asaresult,thephrasebreakalegisusedinstead.Somesaythatbreakingalegisarchaicslangforbowingorcurtseying,whichanactorwillhavetodoafterasuccessfulperformance.OtherssayitcomesfromaperformanceofRichardIIIinwhichtheactorDavidGarrickwassoengrossedinhisrolethathedidntnoticethathehadfracturedhisleg.However,themostlikelyexplanationisthatwishingsomeonetobreaktheirlegisabadthingandthereforetheoppositeofwishingthemgoodluck.

Ghost LightMosttheatreshaveatleastonenightaweekwhentheyhavenoperformanceonandarethereforedark.Superstitioustheatremanagerswouldleavealitcandleonthestageontheseeveningsallegedlyinordertoappeasetheghostsofthetheatre,whocanthenusethelighttoseeandthusstagetheirownperformancethatnight.

MacbethRefusingtosayMacbethinatheatreisoneofthemostwidelyheldsuperstitionsinBritishtheatre.ItisbelievedthatsayingthenameoftheplaywillbringbadlucktothetheatrecompanyandsoinsteaditisfrequentlyreferredtoasTheScottishPlay.Thereasonsforthisareunclear,butmanyactorswillhaveheardanecdotesaboutproductionsoftheplaywhichisallaboutwitchcraftandmurder-thathavebeenfraughtwithmisadventure,suggestingthatitisperhapstheplayitselfthatisunlucky.IfyoudosayMacbethinatheatre,dontpanic!Onewaytobecleansedandforgivenistoleavetheroom,turnaroundthreetimes,spitoveryourleftshoulderandswearing,beforewaitingtobeinvitedbackin.

WhistlingWhistlinginthetheatreisthoughttobringbadluckonthewhistler.Thiscanbetracedbacktothedayswhensailorsonleavewouldworkasstagecrewandcommunicatethedroppingofropesandscenerytoeachotherbywhistling.Thus,ifanactorwhistled,itmightresultinapieceofscenerybeingdroppedonthem.

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Peter McKintosh Designer

What attracted you to designing Noises Off?Ididtheplayabout22yearsagowhenIwasastudentatBristolOldVicanditsjustoneofthefunniestplayseverwritten.IloveitandIvealwaysloveditandbecauseIddoneitbefore,Iknewthepitfalls.Iknowthatprincipally,youvegottogetthedoorsintherightplaceandtheneverythingelsecomesafterthat.Intheend,Ithinkitsmostimportanttoservetheplay.

What challenges did it present?Onceyouveworkedoutwhereeverythingneedstogo,youthenneedtomakesurethatitlooksnice.Whenthecurtaingoesup,theaudienceneedstothinkthesetlookslovely,thengraduallynoticelittledetailslikehorriblepaintingsonthewallsandthendiscovertherearetwodoorsoverawindow,whichtherecouldntbearchitecturally,butthatsaperfectfarcesetdesign,becauseitcouldntbemorewrong!ThefirsttimeIdesignedit,IcouldntbeartheideaofmakingnoarchitecturalsenseofasetbutthistimeIthoughtthatthatspreciselythepoint.IthinkTheOldVicistheperfectstageforthisplay.Itsnottoobig,whichmeansyoucanmoveacrossthestagewithouthavingtowaittogetalaugh.Butyoudohavetobeabletoseeeverything.Everybodyintheauditoriumhastobeabletoseeeverydoor,soeverythinghastobedesignedwithinthestagessightlines.

How does the double sided set work logistically?Itsallonebigtruck,whichcanjustbeturnedroundbutitsveryheavyandrequiresacertainamountofpeopletomoveit.Plusitsonarakedstagewhichdoesnthelp.Itsfineattheintervalbecausetheyhave20minutesbutitsthetwominutesthattheyhavetoturnitbackroundinthesecondhalfwhichishard!

Did you make a conscious decision about the period in which you were setting this production?Thechoicethatwemadewasthatwewouldnotdoeitheritcouldbenow,oritcouldbetheEighties.Thepropsarenttoosophisticated,sonobodysdrawingattentiontowhatisntthere,suchasmobilephonesbutequallynothingscreamsEighties.Ifeelthatitsmuchbettertokeepitopen.ItsnotanexerciseinperiodrecreationbecauseitsnotaplayaboutlivingintheEighties,itjusthappenstohavebeenwrittenthen.Theresacharmaboutitthattherepossiblywouldntbenow,sowhatwasmostimportantforuswastokeepthespiritofthat.

How does the director/designer relationship usually work for you?Itdependsontheplay.Usually,Iwouldsitdownwithadirectorandwewouldtalktogetheraboutmoodsandfeelsandwhatsortofproductionitshouldbe,keepingitverygeneraltostartwithandthenIwouldgoawayanddosomedrawingsormakearoughtmodelandthedirectorwouldcomebackandrespondtothat,soitbecomesato-ingandfro-ingofideas,untilyoubecomemoreandmorefocusedandspecific.ButwithNoises Offitwasabitdifferent.Itbecamealogisticalexercise.LindsayandIspentamorningwithaveryroughmodelbox,tryingtodecideonthepositionsofthedoorsinActIandthendidthesamewithActIIanddecidedtomoveacoupleround.Asfarasthedecorationgoes,IveworkedwithLindsaylongenoughforhimtotrustthatIwillgetthefeeloftheplayright,alwaysallowingthathecanmakeadjustmentswhenandwherehewants!

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Noises off TeachiNg ResouRces

Tell us about the costume designs. IdontalwaysdocostumedrawingsbecauseusuallyIdbelookingforsomethingveryreal,whichmightbemoreaboutshoppingandkeepingouroptionsopen.SowithNoises Off,IdidntdrawthethreerealpeoplebutIdecidedthatIwoulddrawthepeopleinNothing On,becauseactuallyitisaplayanditisdesignedandtheywouldbewearingcostumes.Thecharactersareverybroad,theyrealltypes.IthinktheBurglaristhemostextremeofthosebutIlovethelaughthatBelindaalwaysgetswhenshestepsthroughthedoornotbecauseshelookssilly,butbecauseshelookslikearecognisabletype.Bydrawingthem,yougetthecolourbalancerightacrosstheboardandyoucanpayattentiontotinydetailsIlovethefactthatRogerstiematchesBrookesunderwearforexampleandtheyreallylooklikecostumes.Butyoudontreallyrealisethatuntilyouseethemstandingnexttotherealpeople,whoallseemmuchmorenaturalandreal.

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What attracted you to the play and to the role of Dotty in particular?FunnilyenoughImoldenoughtoknow,andhaveseen,theoriginalproduction.IsawPatriciaRoutledgeplayDottyandshewasabsolutelywonderfulImmadabouther!IcanrememberfromthenhowfunnyitwasandsowhenthiscameupIknewIhadtodoit!

What are the challenges of playing farce?Youneedamassiveamountofenergy,butthenyoudoforanyplay,soinawayyouvejustgottobeonyourtoesthewholetime.Itsgottobeasrealascanbe,otherwiseitaintfunny!OurdirectorLindsayPosnerisandIsaythiswiththegreatestaffectionveryfinicketybutyouhavetobewithfarce.Thelasthourinrehearsalseachdaywasveryhardgoingbecausewewereknackeredbythen!Buthardworkhasagreatrewardandcertainlyplayingthisnowisfabulousitsatotaljoytoperform.

This is your Old Vic debut how have you found the experience?Ihavetosay,Iamcompletelyinlovewiththistheatre.Ithinkitslikeamagicplace.Withoutbeingfanciful,Idofeeltheghostsofallthegreatpeoplehere.ApparentlytheresanOlivierspotsomewhereonthestage,whereyoucanpracticallywhisperandbeheardthroughouttheauditorium.

With Noises Off, its very important that the ensemble works together. How did you achieve that harmony with this cast?Wejustdid!Firstly,itsabrilliantcast,allwonderfullycastintheirparticularroles.Also,theknowledgethatwereallinittogether.Ithinkitsalittlebitlikegoingintobattle.WeallhavetogooverthetoptogetherIdontmeanoverthetopinperformance,Imeanliterallyoverahilltogetherandwedo.Wedoeverydayanditslovely.

Was the show as fun to rehearse as it is to watch?Actuallyitwasprettyseriouswork.Imnotsayingwedidnthavealaugh,becausewedidandLindsaysgotawonderfullydrysenseofhumourbutwehadtogetonwithit.Wehaveamarvellousstagemanageranddeputystagemanagerandtheymadesurethatteabreakswereliterallyfifteenminutes.Itwasinterestinghowstrictallofthatwas.

Does the show stop being funny?Ithinkitssuchacleverplay,butthethingisyouhavetokeepyourconcentrationutterly.Ishouldntreallygivethissecretaway,butmyscriptisalwaysinthewingswithmeconstantly,becauseyoualwayshavetobereadyandalertandIthinkthatwillalwaysbethecasewiththisshow.

How does performing comedy on stage differ from performing for television?Thesoundofpeoplelaughingislikeaninjectionofjoy.Ontelevision,youdonthavethat.InAcorn Antiquesforexample,weneverdiditlive,sowhenyouheartheaudiencelaughitslikeanaudiblethumbsuptellingyouthattheyrehavinganicetime,sothatslovely.

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Celia Imrie Dotty Otley

25


Jamie Glover Garry Lejeune

What attracted you to being a part of Noises Off at The Old Vic?Itreallywasalong-termambitiontobeinthisplay.WhenIwas10yearsold,IsawtheoriginalproductionattheLyricHammersmithwithmymumanddadandwealllaughedsohardthatwewentbackthenextnight!SoIveknownabouttheplayforaverylongtimesowhenIheardTheOldVicweredoingitIimmediatelyputmyhandupandwentMe,me,me,me,me!AndwhenIheardthatLindsayPosnerwasdirectingit,whoisrenownedforhisforensicattentiontodetail,Ithoughtitwasareallyexcitingcombination,becausewiththisplay,youhavetoberightonthemoneywitheverysingledetail.Therearemomentsintheshowwhereyouliterallyhavetohavesplit-secondtiming,soyouneedadirectorwhoisgoingtobepayingcompleteattentiontothat.

Tell us a bit about the character you play.IplayanactorcalledGaryLejeune,whoisplayingacharactercalledRogerTramplemainintheplayNothing On.Helikestothinkofhimselfasbeingverydirectbutactuallyherarelyfinishesasentencetoanyonessatisfaction.Hesquite,pronetoviolenceifpushed,whichcomestoaheadinActII.Healsodoesalotofrunningaround!

How did you find the rehearsal process?Usuallywhenyourerehearsingaplay,youmightgothroughittwoorthreetimesindetail,puttingitonitsfeet,excavatingthetextmoreandmoreeachtime.Withthis,wehadfourweeksrehearsal,whichdidntreallyfeellongenough.ActII,whichisonlyabouttwentyminuteslong,tookjustshyoftwoweekstogothroughitonceandweworkedincrediblyhardtogetthroughit.Itwasincrediblyfrustrating,becausealotofitisatechnicalexercise.Whenyoure80%thereinanormalplay,youfeellikeyouregettingsomewhere,butwhenyoure20%outinthisplay,youmayaswellbeamillionmilesaway.Thatbeingsaid,whenitstartedtoclickandyoustartedtofeelithappen,itwasveryexciting.Andassoonasyoustartgettinggalesoflaughterbackatyoufromanaudience,thatsveryintoxicating.TheaudienceresponsehasbeenamazingandIvecertainlyneverbeeninvolvedinaplaythatshadthiskindofreaction.

How accurate a portrayal of theatre life do you think Noises Off is?Ithinkallofthecharactersinitarearchetypesofacertaintype.IwouldntsaycaricaturesbecausethatimpliestheyrenotrealandIthinktheyreallveryreal.Theyreallrealpeoplethatyoumightfindinanywalkoflife-Ivecertainlycomeacrosspeoplelikealloftheminthetheatre!Itsobviouslyheightenedforcomiceffect,buttherescertainlymorethanagermoftruthinitandIthinkIdbelyingifIsaidtherewasnt.

How did you go about rehearsing the moment when you fall down the stairs?Iworkedwithawonderfulfightarrangerandmovementdirectoronasafewaytofall,givenmyshapeandsizeandtheparticulardemandsoftheset.Thestaircasehasadogleginit.Ifyouactuallyfelldownstairslikethat,youwouldntgoroundthedogleg,butwevehadtomanufactureawaytomakeitbelievablethatyoudobecauseitsfunnier.IdogetbruiseddoingiteverynightbutImconfidentthatImdoingitsafelywell,giventhefactthatIhavetothrowmyselfdownthestairs,assafeascanbe!

Have you had any similar experiences to those the actors have in the play?NothinglikeNothing Onthatstoohorribletocomprehend!AnyoneinvolvedintheatrewillhavehadthenightmarewhereeverythinggoeswrongandthatistheessenceofwhatFraynhaswritteninthelastactoftheplay-adistillationofallthethingsthatcouldpossiblygowrong.OneofmyfirstactingjobswaswithJulieWaltersinTennesseeWilliamssThe Rose Tattoo.Throughouttheplaytheresthesymbolofherhusbandsashesinanurnonthemantelpiece,whichshehadtosmashinaverypowerfulcatharticmomentattheendoftheplay.Exceptatoneperformance,sheaccidentallysmashedithalfanhourintotheplay,whichwasverydifficultforustorecoverfrom!SoIthinkweveallhadourfairshareofthingsgoingwrongbuthopefullyIllneverexperienceanythingthatsasmuchadedicationtomayhemasNothing On.

Has anything gone wrong onstage so far?Occasionallythingshavegonewrong,whichtheaudiencefindhilariousbutwhatsfunnyisthatifthingsdogowrongitactuallythrowsouttherhythm,soalthoughitmaylooklikeitsmeanttohappen,itmayalsolooklikeithasntquiteworkedasajoke.IaccidentallyslammedAmysfingersinthedoortheotherday,whichtheaudiencelaughedat,thinkingthatitwassupposedtohappenassheslowlyturnedwhite!TheessenceofNoises OffisthateverybodytriestoploughaheadwithNothing OncomewhatmayandIthinkthatsametaphorforlifereally.Isupposeinthetheatre,thefactthattheshowdoeshavetogoonmeansthatpeoplewanttoshoreupthatmythologyasfaraspossible.

How have you found the experience so far?Ithasbeenthehardest,toughestthingIhaveeverhadtorehearsefor.Everydaywewerelongingforthedaytofinishbecausewewouldhavetogooverandoversmallsectionswhichprobablyinrealitywouldhavebeenabout45secondsifyourewatchingitfromtheaudience.Buttoperfecteverything,itsallabouttimingandwejusthadtokeepongoingoverit.ItwashardworkandIhadtodoanawfulamountofrunningupanddownstairsImjustthankfulIonlyneedtodoitonceanight!Butitshugelyrewardingtoheartheaudiencesreactions.Ithinkthatfromdoingitsomanytimesintherehearsalroom,wedlostsightofthefactthatitwasevenfunny,sotoknowthatanaudiencefounditfunnywasjustgorgeous.

What attracted you to taking this role in this play?ItssuchafamousplayandalthoughIdneverseenitdone,orreadit,everyonesheardofitanditsmeanttobethefunniestfarcegoing.IdalreadyhadatasteoffarceinBoeing-BoeingintheWestEndacoupleofyearsagoandIhadthebiggestamountoffundoingthatandIthoughthowperfectitwouldbetobedoingsomethingfunoverChristmas.IhesitatedeversoslightlybecausemyrolerequiresmetobeonstageinjustmyunderwearbutfortunatelythedesignerhasworkeditsoImverycomfortableandIhavetightsunderneathmystockingsandthreepairsofknickers,soImverymuchmorecoveredthanIlook!

Tell us a little bit about your character in the play.IplayBrooke,whoisanactresswhoplaysVickiintheplayNothing On.IhadaverystrongnotefromMichaelFrayn,whotoldmenottoplayitdim.IhadtobevacantbutnotdimasBrooke,butVickicanbedimbecauseshesthebimbocharacterinNothing On.IthinkImquitegoodatvacantthatsabitofanAmytraitanyway!

How does acting in a farce differ from the work youve done in your career so far?ThemostimportantthingwhetheryouredoingTVortheatreistobetruthfulandasrealisticasyoucan.IvejustcomefromdoingDownton Abbeyforsixmonthsandwhenyoureactingforscreenyouhavetobeverysubtleandalmostunderplayit.Butwiththis,wevehadtoheightenititsgottobelargerthanlife,butstilltruthful.

Youve done TV, comedy, drama, musical theatre - where do you feel most at home?Tobehonest,IstillfeellikeImtwelveyearsold-Imstilllearningandtryingoutnewthings.Iwanttokeepondoingnewthingsandkeepitasvariedaspossibleandaschallengingaspossible.Icantimagineeverfeelingcompletelycomfortableinanything-Ilikescaringmyselfalittlebitbydoingsomethingnewanddifferent.

Are there any roles that you aspire to play?IalwayssaidIwasdesperatetodoaperioddramaandIgotmywishthisyeardoingDownton,whichIloved.Ilovehistory,soanythingthatstodowithgoingbackintimeisgreat!

Do you think Noises Off is an accurate portrayal of backstage life?Itsabsolutelyaccurate!Iftheaudiencecouldseeusbackstageduringtheshow,itssometimesalmostascrazyasActII,witheveryonetryingtorememberwhichdoortocomethrough!

Has anything gone wrong onstage during a performance?Thingsdogowronglittlethingsprobablydogowrongateverysingleperformancebuttheaudiencehopefullyshouldntnotice!But,althoughitsashowaboutlotsofthingsgoingwrong,unlesswegetitcompletelyright,itdoesntwork.Ourtiminghastobejustright.Itsmentallyexhaustingaswellasphysicallybecauseyoureconstantlyhavingtolisten,makingsurethatwereallinsync,especiallyinthedumbshowinActII.

Are there any theatrical superstitions that you abide by?WhateverIdobackstageatthefirstperformance,regardlessofwhetheritgoeswellornot,Ihavetothenrepeatateveryshowafterthat.Forexample,asweweregettingintoourpositionsbeforeourfirstentrance,IsawCeliaandputoneofmythumbsupandshesaidDoublethumbsAmy!Andsonow,everynightwehavetosayDoublethumbs!toeachotherbeforetheshow!ItslittlethingslikethatthatIabsolutelyhavetodo.Andalso,sprayingmyperfumesometimesIvehadthebeginnerscallandIvebeenonmywaydowntothestageandIverealisedIhaventsprayedmyperfumesoIverunbacktothedressingroomtoputitonwhichIknowisridiculousbutIdontfeelcompletelyrightasBrookeunlessIhaveeverythingjustso!

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Amy Nuttall Brook Ashton

What made you want to be a part of this production?

Aisling Loftus (Poppy): IhadntheardoftheplaybutwhenIreadit,Ireadittwiceoverinonesitting.Ithoughtitwashilariousandthecharacterswerebothridiculousandentirelyrecognisable.

Robert Glenister (Lloyd):Idneverbeeninafarcebefore,soIsawitasachallenge.

Tell us a bit about the character you play.

Aisling Loftus (Poppy):Sheisntcutoutforthiskindofpressureandhavocsoishighlystrungthroughouttheplay.Shewouldliketobetakenmoreseriouslybutsheisattheverybottomofthefoodchain.

Janie Dee (Belinda): SheisthrilledtobitstobeintheproductionNothing On.Shesbeenashowgirl/dancerandnowshesanactressandtakesitveryseriously.Shesobsessedwitheverythingandeveryone,andshefallsforFreddie,andanyoneelsewhosatallnicetoher.

Paul Ready (Tim):Forme,Timissomeonewhoisjusttryingtodohisverybest,butiscompletelyoutofhisdepth.

Robert Glenister (Lloyd): Heisafailedtheatredirector,whoseambitionstoscalethetheatricalheightshavenotbeenrealised.Thissenseoffailureisreflectedinhisvicioussarcasmtowardstheothermembersofthecompany.

What are the biggest challenges you have faced in rehearsals for this show?

Aisling Loftus (Poppy): Pitchingtheperformanceright.Ifitstooover-the-topthennoonewillcareaboutthecharacters,andwatchinga2Dcartoon-likeperformancewouldbetedious.ButithastobebigenoughtocarryonTheOldVicstage.

Robert Glenister (Lloyd): TheActIIballetwhichwasrehearsedingreatdetailovertwoweeks.

What have you enjoyed most about the process?

Janie Dee (Belinda): Theexhilarationofsuddenlygettingitrightafterallthepractice.Irememberusallwhoopingonce,likewedscoredagoal!

Paul Ready (Tim): AsmuchasitwaspainfullyslowandfrustratingtogetActIIupandrunning,therewasalsoastrangepleasureintheprecisionofitandlearningtotellastoryjustwithmimeandthebody.

In your career, have you had any on/offstage experiences similar to the events of Noises Off?

Janie Dee (Belinda): Agoodfriendofminenow,triedtothrowmeintotheorchestrapitinthemiddleofaduetweweresinging.IthinkIhadmadehimangry!

Do you have any theatrical superstitions?

Paul Ready (Tim): IcantsaythenameofTheScottishPlaywithouthavingtoleavethetheatre,spitonthefloorandturnroundthreetimes.IminthetheatreasIwritethisandIcantevenwritethename!

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In conversation with... Thoughts from the cast

BooksBaldick,The Concise Oxford Dictionary of Literary Terms,2004Davis,Farce,1978Fischer,The Play Within the Play,2007Frayn,My Fathers Fortune: A Life,2010Grantham,Playing Commedia,2000Hornby,Drama, Metadrama and Perception,1986Moseley,Understanding Michael Frayn,2006Smith,Modern British Farce,1989Wright,Why Is That So Funny?,2006

Articles/EssaysEdamariam,Whatsthestory?The Guardian,2008Fisher,AplaywithinaplaycanbecleverorconceitedThe Guardian,2007Wroe,AseriouskindofjokerTheGuardian,1999Zozaya,Plays-Within-PlaysinThreeModernPlays,1989

OtherTheOldVic,Noises OffProgramme,2011

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Noises Off Bibliography

Documents

Noises Off - Teacher Resource Pack