The Slapstick is Popping in Keegan’s ‘Noises Off’ (Review)
metroweekly.comNoises Off. Serving as the country home setting of the play within the play — Nothing On — Matthew J. Keenan’s nifty multi-level cottage, with several doors to swing and slam, plus one large French window and a winding staircase, atop a revolving stage, stands out as perhaps the most vital character.The cast’s interactions with the scenery tend to be as comically compelling as their rapport with each other, or their way with the repartee of Michael Frayn’s quintessential farce.
Faced with a flock of stumbling, tumbling, prat-falling performers, Keenan’s faux-brick and wood-paneled set elegantly helps facilitate the physical comedy, from front to back.As per the requirements of the plot, the audience for Noises Off is privy to the frantic shenanigans both onstage and backstage at the harried production of Nothing On.Watching the entire set revolve, making its smooth switch from front of house to backstage, then back around again, provides a modest thrill that cements the dynamic role of scenic design in staging this door-slamming audience pleaser.There also are countless props, knobs, cords, and costumes the actors must handle with the dexterity of cardsharps, while also delivering wordplay and marking sometimes perilous blocking.
Director Mark A. Rhea has his cast well-timed to cover those changes and exchanges with aplomb.Portraying Dotty Otley, Nothing On‘s star player and lead investor, Susan Marie Rhea adroitly balances, for three solid acts, Dotty’s bit of business about bringing or leaving a plate of sardines.
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