Two new shows embrace the outrageous
THEATRE NOISES OFF
By Michael Frayn. Directed by Scott Bellis. An Arts Club Theatre Company production. At the Stanley Industrial Alliance Stage on Wednesday, January 29. Continues until February 23
➧ GOOD THINGS COME in threes. And so does great comedy. The Arts Club Theatre Company’s production of Noises Off is a hilarious farce about putting on a play, and the train wreck that can erupt when you combine personal misunderstandings, jealousies, and romantic affairs gone wrong. And in keeping with the rule of three that says a trio of events can achieve ideal comedic effect, the action in Noises Off happens in three acts—a three-part free fall into divinely satisfying chaos.
In this play within a play by Michael Frayn, Lloyd Dallas (Andrew McNee) directs an eccentric group of actors in a play titled Nothing On. Beginning with its dress rehearsal, it’s clear that Nothing On is in rough shape. The actors are constantly forgetting lines and cues, and various personal issues among the cast and crew are pulling focus from the job at hand. Little does anyone know that it will only go downhill from here.
Throughout the next two acts, we follow the run of Nothing On, as the show tours and then finally closes. The romantic rivalries and infighting that distracted the company in Act 1 only continue to escalate. And the slapstick comedy the actors perform on-stage in Nothing On is replicated tenfold in the backstage antics.
This type of ensemble comedy requires mathematically precise timing, with each character’s track carefully plotted within the larger picture. And director Scott Bellis has timed the action so well that the show never misses a beat. The action flows smoothly, like meticulously crafted mayhem.
With the use of a revolving stage, Ted Roberts’s set allows us to enjoy the action on- and off-stage—sometimes simultaneously. Christine Reimer’s costume design nails the show’s ’80s setting—especially enjoyable is the teal jumpsuit worn by Emma Slipp in the role of company star Belinda Blair, not to mention the red blazer and plaid skirt Tess Degenstein sports to play rookie actor Brooke Ashton.
Given how large a role slapstick comedy plays in this show, credit must be given to Mike Kovac and Ryan
McNeill Bolton for their excellent fight and physical stage direction. A highlight of the show is a spectacular fall by one character down Roberts’s manystaired set.
Among the brilliant ensemble, Nora McLellan is a highlight as poor Tim Allgood, the overworked, underappreciated stage manager with the unfortunate job of holding Nothing On’s company together. Standout performances also include Charlie Gallant’s stellar physical comedy as emotionally unstable actor Garry Lejeune; Degenstein, with her Bambi-like innocence; and Slipp, with a largerthan-life portrayal that screams ’80s soap-opera character.
Noises Off is a delightfully entertaining farce that shines as much for its comedic skill and finesse as for its absurdity and calamity.
URINETOWN: THE MUSICAL
Book and lyrics by Greg Kotis. Music and lyrics by Mark Hollmann. Directed by Courtenay Dobbie. A Studio 58 production. At Studio 58 on Saturday, February 1. Continues until February 16
➧ IN URINETOWN, public-urinal authoritarian Penelope Pennywise proclaims “It’s a privilege to pee.” And Studio 58’s production of the Tony Award–winning show, under the direction of Courtenay Dobbie, is a privilege to watch. Performed by Langara College’s acting students, this impressive production rivals any professional version out there. The show features well-timed comedy, polished singing and movement, and an energetic spark that drives the performance.
The story is set in a grim, dystopian society where a 20-year drought has put an end to private toilet facilities. Instead, people must pay to use public amenities. Anyone caught breaking the rules is sent to Urinetown, a mysterious place that no one ever returns from. And while much of the population suffers in poverty, Caldwell Cladwell, CEO of the corporation that owns the public amenities, literally flaunts his dollar bills in front of everyone. When Cladwell decides to raise the fee for public-amenity usage, it prompts a major social uprising.
Despite the dark subject matter, Urinetown is full of tongue-in-cheek humour that lovingly pokes fun at Broadway musical theatre. Mark Hollmann and Greg Kotis’s music is a mashup of styles that evokes shades of Les Misérables, West Side Story, and Fiddler on the Roof.
Julie Tomaino’s choreography both embellishes the parodic fun and pays homage to iconic Broadway numbers. For example, with its intense fingersnapping and eventual explosion of energy, “Snuff That Girl” tips its hat to Jerome Robbins’s “Cool” choreography from West Side Story. Various other choreographic moments, such as the Charleston-like “We’re Not Sorry”, and the gospel-inspired “Run, Freedom, Run!” and “I See a River”— in which a fan is used as a wind machine—also add hugely to the fun.
Under the musical direction of Diane Speirs, the show’s score sounds fantastic, played by a skilled five-person band. And there are some strong singing voices among the cast, which come through loud and clear without microphones.
As the show’s hero and heroine—Bobby Strong and Hope Cladwell—Caleb Dyks and Emma Ross bring sweet innocence to their characters. Dyks also has a nice belt in his singing, especially apparent in “Look at the Sky”. As Penelope Pennywise, Ivy Charles is a blast to watch—her sharp comic timing and quirkedout mannerisms are topnotch. Playing narrators Officer Lockstock and Little Sally, Liam Stewart-Kanigan and Emily Case are a delightful team. Stewart-Kanigan comes across as a charming, gentle giant, always questioned by the inquisitive Case.
With his split leaps, high kicks, and endless energy, Vuk Prodanovic is sensational as Tiny Tom. And Irene Almanza Menes is hilarious as the ruthless—and very pregnant—revolutionary Little Becky Two-Shoes.
The cast clearly has a ball with all this, and along with the creative team, puts in an excellent effort here. This is a Urinetown with extra splash—and a must-see that isn’t staged very often.