SALT LAKE CITY — One of my favorite things about theatre is its fluidity. Unlike film, which lives on in its exact state forever, each new stage production breathes a different dimension into a familiar story with new casts, locations, and designs. Still, some shows are so beloved or well known that audiences arrive with certain expectations. I’ve seen Michael Frayn’s Noises Off dozens of times and even performed in it myself—so I was delighted when Pioneer Theatre Company’s new production not only delivered the expected laughs but also discovered fresh ones.
Noises Off follows the cast and crew as they rehearse and perform the fictional British farce Nothing On. In act one, they’re stuck in a technical rehearsal approaching midnight, still wrestling with doors that won’t open or close properly, half a dozen confusing plates of sardines, unclear character motivations, and one actor prone to disappearing in search of a drink. By act two, the company is on the road, and the backstage drama unfolds for the audience. The final scene depicts the last performance of Nothing On, when backstage chaos spills into the show itself with catastrophic—and hilarious—results. It’s a notoriously complicated play to stage and a true test of a company’s ability to fire on all cylinders.
Noises Off plays at Pioneer Theatre Company’s Simmons Memorial Theatre through December 20 | PC: BW Productions
The cast assembled by director Shelley Butler is phenomenal. In comedies with exaggerated characters—especially Noises Off—there’s a temptation to lean into those exaggerations too early, leaving the audience ahead of the jokes by the end. Butler’s direction is a master class in patient comedic escalation: no hand played too soon, yet the pace never drags. The result is excellent. I was particularly impressed with how Butler’s approach highlighted the comedy of Nothing On in act one. You sense these actors could be competent were it not for their offstage distractions.
As on-stage director Lloyd Dallas, Robert Mammana is especially charismatic. His determination to “keep calm and carry on” gives him an aloof, almost professorial air at first, which gradually unravels as he succumbs to the madness. Linda Muggleston continues to impress with her fearless comedy as Dotty—her timing and physicality are deeply funny. I’d see her in anything. Rhett Guter’s Garry is also brilliant. His use of what can only be described as an emotional support chapstick is one of the most unhinged and delightful choices I’ve seen on stage in years. His fall down the stairs in act three is unbelievable.
Olivia Kaufmann’s Brooke is another highlight. Brooke is often played as wooden and robotic, but Kaufmann offers a glimpse of why she’s cast (beyond her connection to Lloyd). Her Brooke takes the job seriously—practicing lines and blocking on the side during the opening scene—yet lacks depth beyond that. Her weaknesses as a performer gradually surface, and it’s her skill that drives many of the laughs as the show progresses. Terence Archie and Sarah Marie Joyce are delightful as the dim Freddy and gossip-prone Belinda. Archie brings an eager, golden-retriever energy, oblivious even when insulted, while Joyce embodies an enthusiastic mother hen. Rounding out the cast are Kilty Reidy as the beleaguered technician Tim (his joy at taking the stage in act three is precious), David Manis as the supposedly past-his-prime Selsdon (though Manis himself is certainly not), and Avneet Kaur Sandhu as Poppy, the stage manager caught in an unfortunate love triangle.
Photos: BW Productions
The set for Noises Off is famously complex, requiring eight entrances (nine if you count the window), two stories, and the ability to rotate fully for act two. Paige Hathaway’s design is lovely. The addition of a Nothing On marquee—paired with clever sound design by Bryce Robinette and composer Will Van Dyke—firmly situates the play in British farce territory. The set takes a beating but functions seamlessly. David Christopher Duval and Alexandra Harbold’s work as fight consultant and intimacy coordinator is also fantastic, particularly in act two as Garry repeatedly finds Dotty in increasingly compromising (or seemingly compromising) positions every time he exits.
This is a busy time of year, and I would never knock anyone’s Christmas traditions of seeing A Christmas Carol or The Nutcracker. But it would be a real shame to miss Noises Off. Pioneer Theatre Company continues to offer the best bang-for-your-buck ticket in town. It’s always delightful to see this show done well—and even more thrilling to see it done this well.
These reviews are made possible by a grant from the Salt Lake County Zoo, Arts, and Parks program.
