Tony Award-winner Andrea Martin (Pippin, Young Frankenstein) makes her Roundabout Theatre Company debut in a rip-roaring new production of Michael Frayn's (Copenhagen) beloved comedy Noises Off!
The Opening Night performance of the farce Nothing On is just hours away, and as the cast stumbles through their final dress rehearsal, things couldn't be going any worse. With lines being forgotten, love triangles unraveling and sardines flying everywhere, it's complete pandemonium- and we haven't even reached intermission! Can the cast pull their act together on the stage even if they can't behind the scenes?
Full of shocking surprises and gut-busting humor, Noises Off is the classic show-within-a-show that "voyages to the outer limits of hilarity" (The New York Times). Two-time Olivier Award nominee Jeremy Herrin (This House) directs.
In 2016, it's inarguably a little late to be celebrating the stereotype of the dumb blonde. But the stiff walk and posture that Megan Hilty has created for her clueless character, a stunningly untalented British stage actress cast for her generous curves, are the gift that keeps on giving in Roundabout's delicious Broadway revival of Noises Off. Whether she's galumphing around backstage or sashaying through a performance with priceless self-consciousness -- delivering every line straight to the audience with a blissful inability to take direction or interact with her fellow cast -- Hilty's Brooke Ashton is a sparkling comic caricature that never gets tired. She's well matched in director Jeremy Herrin's production by a first-rate troupe of New York theater pros, even if this notoriously tricky backstage farce hasn't quite found its ideal precision-tooled groove.
The comedy in the first of three acts feels a little forced. But Herrin - not incidentally, artistic director of a company named Headlong - soon catapults the physical and verbal humor headlong into increasingly inspired opportunities to watch characters who play second-rate actors play out their real lives while trying to perform the complications of their second-rate play. Slippery sardines have seldomed seemed as ominous as when Jeremy Shamos, terrific as a hapless neurotic, flops around on them.
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