Door-slamming farce ‘Noises Off ’ provides laughs
Everything that could go wrong, did go wrong, and got worse — and funnier — during “Noises Off” at the University of Oklahoma.
The Olivier and Tony Award-winning farce was previewed Thursday at OU’s Reynolds Performing Arts Center, 560 Parrington Oval.
First and third acts took place in what appeared to be a richly furnished twostory manor house, with plenty of doors to open, close and bang shut.
It was all only an elaborate stage set on rollers, however, turned around so the audience could see comic shenanigans from backstage in Act Two.
Supplying energy and total commitment were nine cast members, most of whom portrayed both themselves and characters in the play-within-a-play, “Nothing On!”
Playing God as the play’s director, but far from in control of anything, was Andrew Youngerman, who came across as wonderfully imperious, demanding and insecure.
Excellent as “couple number one,” were Hannah Haest, as Brooke playing Vicki, and Justin Armer, as Garry playing Roger, in the touring fictional theater piece.
A greatly exaggerated bust and gestures helped get laughs for Haest, clad in scanty white underwear she kept offering to take off for much of the evening.
Armer had some of his best moments threatening people with a backstage ax, which people kept taking out of his hands, before he could use it in Act Two.
Depicting the second couple vividly in the play-within-a-play were Kylie Anderson, as Belinda playing Flavia, and Bryan Lewis, as Frederick playing Philip.
Anderson cut a sexy yet stylish figure, while Lewis had some funny scenes
dropping, then trying to walk in his pants, and fighting a bloody nose when violence threatened.
Allie Alexander was hilarious, as Dotty playing Mrs. Clackett, turning the maid’s heavy accent, and a plate of lost-and-found sardines, into two of the script’s best standing jokes.
Comic support also came from Caleb Hennigan as the director’s long-suffering assistant, and Rebecca Wagner, as another backstage figure, repeatedly announcing when the play will begin.
Nearly stealing the show was Race Ricketts as an inept burglar, never quite breaking in at the right time, and joined by two identically clad burglars in the play’s uproarious finale.
Hard to follow, at times, the play was funniest, perhaps, in Act Two, when actors backstage had to almost pantomime and mimic what was happening on stage, as the play unraveled.
Performed in three acts with two intermissions, the production directed by Tom Huston Orr, was demanding but ultimately rewarding theatrical fare, especially for fans of farce.
It is highly recommended.