What is comedy? Is it the entertainment comprised of jokes, satire and humor? What about slapstick? That broad comedy that is often characterized by farce and horseplay. Combine the two into comedic slapstick and that is what an audience will find with The Barn Players’ Noises Off production in late July and early August.
The play, written by English playwright Michael Frayn, is more than 30 years old. Noises Off presents the story of a hapless acting troupe who is touring a production of a farce called Nothing On. Nothing On must be about something, but both the audience and the actors humorously struggle to determine the plot. There are doors slamming, confusion and lots of sardines. The primary story of the acting troupe is every bit as convoluted with the actors struggling with lines and relationships.
Actor/director Bill Pelletier is excited to take on the challenge of Noises Off. “It’s also the opportunity to stage it at The Barn. I’ve been in the play three times and I know the play can be done at The Barn. I have the best group of actors and crew. I know it is an ambitious show, but the team will work well together.”
A couple of the actors have been part of the play before. Vicki Kerns is reprising her role as actress Dotty Otley and the character in the play-within-the-play Nothing On, Mrs. Clackett. She calls this dual role one of her all-time favorites. “The role is prop heavy for Mrs. Clackett. She’s always carrying something, especially a plate of sardines. She has a younger interest in the cast. It’s a chaotic show that falls apart.” Kerns says the challenge is to memorize the dialogue because as the show progresses, the lines change. “I figure the big challenges for the whole cast include blocking. However, if we are a well-oiled machine, it should look like a sped-up version of the Keystone Cops.”
For those who have seen the play before, an audience will understand that the play is a “comedy of errors,” Kerns says. “The theater company has been trying to work on the show for two weeks and things are falling apart. It’s a farce. There is continuous action and a chain reaction that keeps an audience laughing and you just can’t stop.”
Victoria Hoffman played the role of Brooke Ashton/ Vicki in an earlier production. She now gets to play the roles of Belinda Blair/Flavia Brent. The dual roles are described as “dependable.” “I call this show the ‘actors’ weight loss special.’ The physicality of this show is incredible, especially in the second act.” Both women see the second act as tantamount to an actor’s World War III. “This production has to be so well choreographed,” Hoffman says. “So few get to see the drama that goes on behind the stage and there is an element of truth. There is something cathartic to watch someone else’s pain.”
David Martin plays Garry Lejeune and within the play-in-a-play, he is Roger, the estate agent. “He’s a fun character who lacks the ability to express himself,” he explains. “He’s so close to being a brilliant actor, but the falls down the stairs will not help.” Martin, who stands 6 foot, 8 inches tall, says audiences should enjoy watching him take pratfalls. “I have wanted to do this show for years. I know it’s going to be challenging.”
Pelletier believes that actors will see many recognizable moments in the relationships and fights. “The audience basically gets a treat in seeing a silent film during the second act. It’s like watching Buster Keaton or Harold Lloyd with much of the physical comedy.”
Kerns also see Noises Off as an explanation of the actor’s panic. “As an actor, you learn how to cover for others. Belinda wants people to be happy and she works hard in trying to save the show,” Hoffman says. “I’m a little like Belinda; she is happy to be in the show. I try to serve as the mediator even at work. I work in marketing and communications and even there, I work to bridge the gap.”
Kerns is an office administrator for a finance and real estate office. She is the only woman in the office. “I feel like Mrs. Clackett sometimes; I feel like a house mother. I take care of the place and as I grow older, I am becoming more like Mrs. Clackett.”
Martin is a financial analyst by day. He has performed improv theater and acted in other comedies. “If you are in theater, this is a show that satirizes the experience. It’s going to appeal to those who are on stage and those in the audience.”
Pelletier also has qualities from his work-a-day world that spill over into directing. He serves in a controller/human resources style position for a large company in town. “I think I am a little more passionate as an actor, but when I direct, I become passionate about the whole show and what I can bring to the whole process.”
The other cast members are R. Kevan Myers playing Lloyd Dallas; Rachael Redler as Brooke Ashton/Vicki; Bob Stewart as Frederick Fellowes/Philip Brent; David Krom as Selsdon Mowbray/burglar; Michael Juncker as Tim Allgood; and Laura Burt as Poppy Norton Taylor. Joining Pelletier behind the scenes are D.K. Evenson as stage manager; Amy Eisele, properties design; Marla Gonzales, Tamara Kingston and April Hall, properties assistants; Bill Wright, set design; Marla Gonzales, costume design; Philip Leonard, lighting design; Sean Leistico, sound design; Tamara Kingston, dialect coach; and Jeremy Riggs, stunt coordinator.
Pelletier knew the chemistry would be in place from the day of auditions. “I could see it,” he says. Board President Vida Bikales could see the connections early on and expects the show to be a hit. “In choosing a season, we strive for a happy medium where shows will attract audiences, but first will attract actors to audition. We got this one right.” Pelletier saw 43 auditioners for 9 roles. “It’s thrilling when strong actors come out. We know that many actors and actresses include this show on their bucket list of shows they want a role in.”
Both actresses knew audition turnout would be good. “However, actors need to realize the physicality of this show. I started working out more after I auditioned,” Hoffman says. Kerns expects audiences to appreciate that bodily humor and fun will remind audiences of the Three Stooges or Laurel and Hardy. “We are putting ourselves on the line. It has to work like a well-oiled machine to create the action and the humor.” Pelletier describes the second act as a silent film full of slapstick. “When I start a show like this, I use a white board to diagram what happens to my character,” Hoffman says. “It’s my technique, this storyboarding, to let me know where I fit in. I guess it’s a story of visual map.” Martin says the second act will require military precision. “Comedy, especially physical comedy requires a sort of drill until it becomes second nature,” he says.
The joy of live theater is another aspect that appeals to director and actors. “We have to be adaptable,” Pelletier explains. “There is a flexibility I have learned over the years … I suppose it’s a little like an innate sense that I have learned to build in a moment to wait for laughter. Plays have to have fluidity, but you don’t want to run over that wonderful moment. By the end of this show, there is a sort of chaotic, hysterical hysteria,” Hoffamn explains. Martin says one of his top goals is to make people laugh. “With this play, I will enjoy doing just that. When laughter happens, we all appreciate the joys of live theater.”
So other people’s misfortunes equate comedy and have for decades. Whatever humor is valued the most, from pratfalls to quick one-liners, find them in abundance in Noises Off July 18-20, 25-27 and Aug. 1-3. The industry night is July 28. Show times for Friday and Saturday performances are 7:30 p.m. with Sunday matinees at 2 p.m.
