Peri Monday
Stephanie Monday, Amy L Welk, Donavon Armbruster and Sam Weeks, clockwise from left, in Madison Public Theatre's 'Noises Off.'
Stephanie Monday, Amy L Welk, Donavon Armbruster and Sam Weeks, clockwise from left, revel in physical comedy in Madison Public Theatre's 'Noises Off.'
Written by English playwright Michael Frayn in 1982, Noises Off is a well known farce and a classic play-within-a-play comedy. Decades later, it’s still a charmer — a play that can be restaged many times, so new audiences can share in the fun. And the good news is that Madison Public Theatre’s energetic production, running at the Bartell through May 30, revels in the chaos of putting on a play gone spectacularly wrong.
The plot follows a cast and crew (and all the behind-the-scenes drama that festers among them), as they clumsily attempt to put on a (fictional) play called Nothing On. Throughout the production process of Nothing On, tensions within the cast begin to rise. Big secrets threaten egos and have the potential to break hearts.
Act 1 sets the scene, introducing the audience to the fictional play’s awkward yet endearing ensemble of actors and crew members. Act 2 is when things really take off, with revealing looks behind the literal curtain of Nothing On, made possible by a clever set design choice that I won’t dare spoil. Kudos to set designer Lee Waldhart, who had the task of creating a set that makes sense for both the fictional play, Nothing On, and the “real thing,” Noises Off.
Naturally, Noises Off relies heavily on physical, slapstick-style comedy and here the cast’s willingness to lean into the play’s absurdity (and try their hands at British accents) makes for a delightful watch.
Sam Weeks gives a standout performance as Garry Lejeune, an American actor with an obvious attraction to another cast member. Weeks' charisma and talent for physical comedy combine for a dynamic performance especially in Act 2. His character is literally all over the place, running, getting into altercations with his rival castmate, tripping over obstacles — all while processing a deep betrayal. I also enjoyed Amy Welk’s performance as Dotty Otley, who opens the show with a hilarious entrance and embodies the “frazzled English woman” stereotype masterfully.
Despite Welk’s strong entrance, the exposition did drag a bit, due to the script’s insistence on introducing the audience to all the characters before letting any of the major absurdities begin. But the pace soon quickens.
Noises Off has become a standard for many community theaters, but Madison Public Theatre’s rendition proves there’s a good reason for that — the play’s clever bite and outrageous humor appeal to a wide variety of audiences and has fun, accessible roles a range of actors can sink their teeth into.
