Noises Off by MICHAEL FRAYN Directed by MEREDITH Mcdonough

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McGuire Proscenium Stage / Oct 27 – Dec 16, 2018

Noises Off by MICHAEL FRAYN directed by MEREDITH McDONOUGH

PLAY GUIDE Inside

THE PLAY Synopsis, Setting and Characters • 4 How Noises Off Came To Be • 5 Responses to Noises Off • 6

THE PLAYWRIGHT About Michael Frayn • 8 Michael Frayn: In His Own Words • 9

CULTURAL CONTEXT The Nothing On Tour • 11 Britishisms, Theater Terms and Other References in Noises Off• 12

ADDITIONAL INFORMATION For Further Reading and Understanding • 14

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DRAMATURG Carla Steen GRAPHIC DESIGNER Akemi Graves CONTRIBUTOR Carla Steen

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2 \ GUTHRIE THEATER PHOTO: SALLY WINGERT, REMY AUBERJONOIS, JOHNNY WU AND LAURA JORDAN IN NOISES OFF (DAN NORMAN)

"That's what it's all about. Doors and sardines. Getting on — getting off. Getting the sardines on — getting the sardines off. That's farce. That's the theatre. That's life." – Lloyd to the cast in Noises Off About This Guide

This play guide is designed to fuel up on a play before you see it your curiosity and deepen your onstage. Or perhaps you’re a fellow DIG DEEPER understanding of a show’s history, theater company doing research If you are a theater meaning and cultural relevance for an upcoming production. company and would like so you can make the most of your We’re glad you found your way more information about theatergoing experience. You might here, and we encourage you to this production, contact be reading this because you fell in dig in and mine the depths of this Dramaturg Carla Steen at love with a show you saw at the extraordinary story. [email protected]. Guthrie. Maybe you want to read

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SETTING ACT ONE: The Grand Theatre in Weston-super-Mare on Monday, January 14.

ACT TWO: The Theatre Royal in Ashton-under-Lyne on Wednesday, February 13.

ACT THREE: The Municipal Theatre in Stockton-on-Tees on Saturday, April 6.

In all three acts, the action of Nothing On takes place in the living room of the Brents’ country home on a Wednesday afternoon.

CHARACTERS Lloyd Dallas, the director of Nothing On

Tim Allgood, the stage manager/understudy for Nothing On

Poppy Norton-Taylor, the assistant stage manager/ understudy for Nothing On PHOTO: LAURA JORDAN AND JOHNNY WU IN NOISES OFF (DAN NORMAN)

Dotty Otley, a seasoned actress playing housekeeper Synopsis Mrs. Clackett in Nothing On Garry Lejeune, a comic During a dress rehearsal for the bedroom farce Nothing On by Robin leading man playing Roger Housemonger, director Lloyd Dallas tries to keep his theater troupe on Tramplemain in Nothing On task so the play can open on time and launch its tour through the British provinces. Dotty can’t remember her lines or her props, stage manager Brooke Ashton, an ingenue Tim attends to doors that won’t open or close, Brooke loses her contacts playing Vicki in Nothing On and Garry loses his cool. Despite countless setbacks and through sheer perseverance, the troupe makes it through the first act mostly unscathed. Frederick Fellowes, a fading But there’s no telling what will happen when the tour begins. leading man who plays Philip Brent and the Sheikh in Nothing On A month later, strained nerves and dropped lines are a quaint memory. Actors are nowhere to be found or threaten to quit, and backstage Belinda Blair, a cast-mother type squabbles spill onstage while a whisky bottle and bouquet of flowers keep playing Flavia Brent in Nothing On ending up in the wrong hands. By the end of the tour, all hell has broken loose as the troupe stumbles through a disaster of a performance that Selsdon Mowbray, a character makes “the show must go on” a debatable adage. actor playing the Burglar in Nothing On

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How Noises OffCame To Be

It was his backstage comedy wrote it on a heavy old German There were amendments, though, Noises Off in 1982 that cemented Adler typewriter, and every time I with every new cast and transfers Frayn’s reputation, but the play’s did a rewrite I would have to type to the Savoy, Washington, D.C. and gestation was long and painful. The out another slip of paper and New York. When Jeremy Sams notion came from watching [Lynn] glue or clip it to the script.” … directed the NT’s 2000 revival, he Redgrave and [Richard] Briers agreed that it needed changes. “By from the wings in 1970 in a frenzy It is perhaps the play that he then it was difficult to persuade the of costume changes in … The Two has rewritten the most over the audience to go out for a second of Us. He presented it as a one-act decades, with continual revisions interval, so we put in a front cloth play, Exits, for a charity evening through previews at the Lyric scene between Acts II and III to in 1977. Hammersmith. “Halfway through cover the set change.” Act III it turned into a serious play “I rarely take commissions, but and people began to speculate on Excerpted from “The Big Interview: Michael Codron, who has produced the events of the evening and what Michael Frayn” by Moira Petty, The Stage, most of my plays, asked if I could it told us about the nature of life. It May 10, 2015 do it as a full-length play. It really became clear at that stage that no needed reorganising, so I took the one wanted to hear about that, so I commission but said I couldn’t do it then had to rewrite the end of Act at that moment." … I. This went on until Nicky Hanson, playing Garry, was deputed by It was a complicated play to devise, the cast — rather like Garry in the as the characters — actors in a play — to say they weren’t going to farce — have to be seen both on learn any more versions before and offstage, and the relationship press night.” between the two developed. “I

PHOTO: LAURA JORDAN, SALLY WINGERT, NATHAN KEEPERS, REMY AUBERJONOIS AND JOHNNY WU IN NOISES OFF (DAN NORMAN)

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Responses to Noises Off

PHOTO: NATHAN KEEPERS, SALLY WINGERT AND LAURA JORDAN IN NOISES OFF (DAN NORMAN)

One of the great pleasures of Off' are very brilliant caricatures Imagine the rising hysteria of the “Noises Off” is the sheer ingenuity — very recognizable, very true, tragedian who, having forgotten of its craftsmanship: Mr. Frayn and quite thin. The energy derives the sword for his big suicide scene, works out the interlocking from the situations. That is why opted to kick himself in the shin, yell mathematical equation of two a farce often has a quiet first act. “the boot was poisoned,” and die. farcical narratives even as he keeps In 'Noises Off,' it’s at least quieter … Well, you’ve imagined something his witty lines flying high. It’s the than the other two acts. That’s similar to Michael Frayn’s “Noises kind of bravura skill one associates because it takes time to lay down Off,” which is at once an evocation, with such other British playwrights the explanatory material that will an interpretation, and a rebirth of as Tom Stoppard and Alan produce situational crises later.” that atavistic form, knockabout Ayckbourn at peak form. farce. Michael Blakemore, the first director of Frank Rich, “Theater: ‘Noises Off’ and Other Noises Off, quoted in “Precision That Makes Act I is the evocation. A British London Comedies,” The New York Times, Chaos Funny” by Nan Roberts, The New York touring company is rehearsing June 16, 1982 Times, December 16, 1983 “Nothing On,” a kind of farce still sometimes to be found on unsophisticated stages in England, Asked to define the difference There are situations which can complete with disappearing dresses, between other forms of comedy provoke terror and yet keep terror falling trousers, awful puns and and farce, Mr. Blakemore said: safely in the realm of hilarity. sexual innuendo. We’re shown how “Farce depends on situations, on Imagine, for instance the feelings [great French farce writer Georges] events. Comedy depends more of the actor who can’t open a door Feydeau has been debased by on recognizable behavior and on and is obliged, as one I know was, his bastard cousins, introduced to character. The people in 'Noises to exit through a cardboard wall. the performers perpetuating such

6 \ GUTHRIE THEATER THE PLAY atrocities, and, perhaps, lured into Worry not about that seismic sound and affection in his fictional laughing at their frantic attempt to coming from the Brooks Atkinson construct, Nothing On. That giddy ensure that the piece’s improbably Theater: It’s nothing ominous, just romp is set in a refurbished Tudor elaborate machinery is slick enough the roar of a thousand people country house — designed by for its “world premiere” the next laughing themselves into fits at the Derek McLane with just the right night. The rest of “Noises Off” sublime silliness of Michael Frayn’s balance of splendor, kitsch and is the rebirth. Act II gives us the “Noises Off.” In a time of free- theatrical flimsiness. It involves a backstage view of a performance floating anxiety in the city, there’s randy real estate agent and his bit that somehow manages to survive something supremely comforting of fluff, a pair of nervous tax exiles, an outbreak of the angers and about the organized chaos of farce, a dithering housekeeper, a burglar jealousies afflicting the company, and audiences are greeting Frayn’s and a fake sheik, with lots of and Act III, occurring four weeks comedy, back on Broadway after dropped trousers, slamming doors later, show “Nothing On” itself less than 20 years, like a cherished (McLane provides eight of them) gradually reduced to theatrical old friend whose company is and itinerant plates of sardines. … rubble by what’s evidently now distinctly therapeutic. … open warfare behind the scenes. Frayn’s theme here is the futility of Farcical ideas both old and new — [A]t times the cast appears to be trying to impose order on a world contact lenses dropped, shoelaces having such fun that they lose sight of chaos, an idea that fits snugly tied together, a skirt lost, bizarre of the poker-faced precision that into the self-important microcosm doings with a cactus and a fire axe actually enhances the allure of even of the theatuh, with its reverent — combine to produce something the broadest farce. But the raucous, conviction that the show must that an undeniably sophisticated no-holds-barred spirit is integral go on in the face of any and all audience at the Brooks Atkinson to the production’s ingratiating disasters. His characters are familiar clearly enjoyed. appeal, and it fits the mood of types of that milieu. audiences desperate to let bottled- Benedict Nightingale, “Farce Kicks Up Its up tensions explode. David Rooney, “‘Noises Off’: Theater Review,” Heels Again,” The New York Times, December Hollywood Reporter, January 14, 2016 18, 1983 It’s a delight, too, to be reacquainted with the sheer brilliance of Frayn’s conception I went into the National wondering (fascinating, too, is the realization about the urgent need to revive that the man who created this Michael Frayn’s Noises Off. Coming inspired lunacy also penned on top of the Ayckbourns, and that thoughtful inquiry into designed to tour in partnership the morality of nuclear fission, with a commercial management, “Copenhagen”). For those whose the production looked as if it were memories are fuzzy, Frayn’s three- yet another manifestation of the act play (performed with just one National’s populist credo. But intermission here) is like a three- it is difficult to remain captious layer cake, with each layer frosted when confronted by a play that so with more laughs than the one hilariously explores, and exploits, on top. the insane rituals of theatre. … Charles Isherwood, “Noises Off,”Variety , It struck me that the kind of November 1, 2001 mechanistic farce Frayn is satirising has all but disappeared from our theatres. But, even if basic British Cheesy sex comedies with winking farce is a back number, we soon titles like Run for Your Wife, Not succumb to Frayn’s artful ingenuity. Now, Darling, or my favorite, Fur Coat and No Knickers were a Michael Billington, reviewing the 2000 longtime staple of British popular revival of Noises Offat the National Theatre, theater, and Frayn embraces the The Guardian, October 6, 2000 tradition with a balance of mockery

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About Michael Frayn

After university, Frayn launched a career in journalism, reporting for The Guardian, where he also wrote a humor column several days a week. He then wrote a weekly column for The Observer, which allowed him to devote time to other writing. His first novel,The Tin Men, was published in 1965, followed by The Russian Interpreter in 1966 and Towards the End of the Morning in 1967.

A common object of his satiric affection in his columns had been the theater, but he found himself drawn back to writing for the stage after a brief foray into television. His first play,The Two of Us (1970), was actually an evening of one- act plays each performed by two actors. Frayn wrote two more plays later in the decade: Donkeys’ Years (1977) and Alphabetical Order PHOTO: MARY SHELLEY PORTRAIT BY RICHARD ROTHWELL (1976). Noises Off premiered in 1982. As an author, he has also put his Russian to use as a translator of

PHOTO: EKKO von SCHWICHOW several works by Anton Chekhov and Leo Tolstoy. Author Michael Frayn was born in Upon completion of his two London on September 8, 1933, to years in the military, he entered Among his more recent work Tom, a salesman, and Violet Frayn. Cambridge University, where he are the novels Headlong (1999) When he was 12 years old, his studied philosophy. As a child and Spies (2002), the plays mother passed away at age 41 of a Frayn had written plays for his own Copenhagen (1998) and Democracy heart attack related to the scarlet puppet theater, and in college, (2003) and a memoir, My Father’s fever she’d had as a child. His he created a revue for Footlights Fortune: A Life, published in 2010. father Tom reared Michael and his (Cambridge's dramatic club) that Over his long, distinguished career, younger sister Jill. Young Michael ran for a couple of weeks, but Frayn has received numerous attended Kingston Grammar his career on the stage came to awards and prizes, including Tony, School. He was enamored of the an end at Cambridge after an Evening Standard and Olivier Romantic poets Keats and Shelley embarrassing onstage incident. awards for the stage, an Emmy as a teenager, and he also became He was trying to make an exit and award for television and a Somerset fascinated with the Soviet Union, pulled the door when he should Maugham Award, Commonwealth such that when he finished school have pushed, creating confusion for Writers' Prize and Heywood Hill and entered his mandatory military the audience and a challenge for Literary Prize for his novels. In service, he studied Russian for the his backstage colleagues when the 2003, he declined a knighthood. British Army. door then jammed.

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Michael Frayn: In His Own Words

All the time in the theatre one fails to light! Flick — and again it is waiting aghast for some doesn’t light! Flick — look intently embarrassing disaster to occur. at ceiling, think about something Whenever there’s a pause, one else. … Flick — will he give up starts praying they’re not going to after ten flameless flicks? After a forget their lines, or be taken ill on hundred? Flick — praise heaven, stage. It’s like walking through a there’s a flame! minefield. Every day in the papers one reads about actors having But now they’re both shaking so heart attacks in the middle of their much they can’t get the flame and performance, breaking their legs, the cigarette to meet! Yes! No! Yes getting their heads split open in — they’ve done it! "Ah, that’s better," the fights, knocking themselves out she sighs contentedly, blowing out against the scenery, and generally a thoughtful column of smoke. But, making a spectacle of themselves. crumbling sanity, there is no smoke! At any moment, one feels there The cigarette’s gone out again! might be some sort of scene. Audience anxiety reaches a peak, One’s palms sweat. Of course, as all sado-masochistic directors one keeps telling oneself that it PHOTO: JUCOBY JOHNSON AND KIMBERLY CHATTERJEE (ABOVE) AND know, whenever the cast indulge in doesn’t really matter, because no LAURA JORDAN AND JOHNNY WU (BELOW) IN NOISES OFF (DAN NORMAN) one of those little bits of business one nowadays expects a naively which depend on physical dexterity, literal realism in the theatre. One or the working of some notoriously wants to see the figure on the fallible machine. My heart leaps into stage both as the actors acting and I can remember wondering whether my mouth every time somebody the characters acted. In a sense, people would understand [the offers to light somebody else’s of course, one’s consciousness of Broadway production of Noises cigarette with a lighter. Flick — it this valuable duality is if anything Off], since the conventions of a heightened when one or two little very seedy British sex farce on things go slightly … which it is based are obviously less well known in America Oh God, he’s not going to throw than they are here. … None of her the revolver! Of course, they us knew whether that would be rehearse these things for weeks … comprehensible to American She’s dropped it. Now she’s picked audiences, but it doesn’t seem it up — she’s carrying bravely on. to have worried them. I must say, Don’t feel you need to be brave on though, that it is also playing in my account, dear. Honestly, it didn’t Budapest — and I can’t imagine embarrass me a bit. No, I had my that British sex farce is known very eyes shut. I mean, I know I caught well in Budapest. my breath when he threw it, but … I suppose you can’t possibly have heard Michael Frayn, quoted in “Broadway me catching my breath, can you? I Surprise: His Veddy British Farce is a Hit” by mean, it wasn’t my catching my breath William B. Collins, The Philadelphia Inquirer, that made you … ? Oh, God! August 8, 1984

Michael Frayn, “Business Worries,” a column written for The Observer in 1964 and published in Collected Columns in 2007

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PHOTO: SALLY WINGERT IN NOISES OFF (DAN NORMAN)

[Noises Off is] about an anxiety Any time anyone tries to explain In a good production, people everyone has, that he may make what farce is, they fall on their respect the text but theatre is an a fool of himself in public, that he faces. … I suppose there is an inherently collaborative business. may not be able to maintain his element of panic, of people being The direction and the actors’ persona, that the chaotic feelings pressured by circumstances into contributions are important. If inside may burst out, that the behaving illogically. When it the author could specify robots whole structure may break down. I works, it can be hysterically funny, doing exactly what he had in mind, suspect people are seeing the kind because the panic of the characters it wouldn’t work in the theatre. of disaster they fear may happen is catching. You get a corporate You’ve got to have actors who find to them, but one that’s safely hysteria in the audience, just as something in those written parts happening to these actors. They’re there is a corporate hysteria on that speaks to them. They have to discharging fear and anxiety in a stage. Whether you can do that bring something of themselves, way that doesn’t hurt. with someone reading a book on and no one is more important than their own, I don’t know. anyone else. Michael Frayn, quoted in “Michael Frayn: The Entertaining Intellect” by Benedict Michael Frayn, quoted in “The Snowball Michael Frayn, quoted in “The Big Interview: Nightingale, The New York Times, December Effect” by Maddy Costa,The Guardian, Michael Frayn” by Moira Petty, The Stage, 8, 1985 March 7, 2012 May 10, 2015

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The Nothing On Tour

When we meet the Nothing On company, they are preparing to launch a 12-week tour through the British provinces. Although not every stop is shown or mentioned, a number of them are. Here is where Nothing On is being performed from mid-January to mid-April.

 Weston-super-Mare A seaside town and parish of about 87,000 in Somerset, in southwest England, across the Bristol Channel from Wales. 125 miles due west of London.

 Yeovil A smaller town in Somerset, about 44 miles southeast of Weston- super-Mare, with a population of about 40,000. 130 miles from London.

 Worksop A town of about 45,000 in north Nottinghamshire in north central England, near Sherwood Forest. 165 miles north of London.

 Ashton-under-Lyne  A city/suburb of about 40,000 near the city of Manchester in Lancashire in northwest England.  215 miles northwest of London.  Lowestoft  The most easterly city in England, in Suffolk along the North Sea coast, with a population of about  72,000. 130 miles northeast of London.

 Stockton-on-Tees LONDON A town of about 100,000 in County  Durham in northeast England, about 10 miles from the North Sea.  The River Tees flows into the North Sea. 250 miles north of London.

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"What's that, Dad?": Britishisms, Theater Terms and Other References in Noises Off

BRITISHISMS

bloke loo telly Man, fellow Bathroom, toilet Television

fruit machine quid usual offices Slot machine A sterling pound (today Euphemism for a bathroom, worth about $1.30) toilet, outhouse, etc. house agents Real estate agents ring VAT Call via telephone Value-Added Tax; a leg over consumption tax most Slang for sexual intercourse row commonly used in Europe Argument, quarrel that is collected at points letting along the manufacturing/ Renting or leasing for smalls distribution chain instead of temporary possession Underclothes, underwear at the end (like sales tax)

THEATER TERMS

beginners who stands in his way of the tabs Actors appearing in the throne, including the Duke of The curtain of a theater, hung first scene Buckingham, Richard’s closest just behind the proscenium arch; ally and biggest supporter, who a shortened form of a tableau Hamlet’s father helps put him on the throne and curtain In Shakespeare’s Hamlet, is in Richard’s good graces until Hamlet’s father appears only as a he balks at Richard’s plan to weekly rep ghost, in 1.1, 1.4, 1.5 and 3.4. While kill his nephews, and the Duke Repertory theaters that would he is seen by several characters of Clarence, Richard’s brother put up a new production every in the play, the ghost speaks in George, killed in part by being week or two, most common in only two scenes and only Hamlet drowned in a vat of wine. Great Britain during the first half hears him. of the 20th century scenery dock paint store A large space next to the A room for storing stage for storing, loading (flammable) paint and/or staging set pieces and equipment Richard III Shakespeare’s 1597 history play stalls about how Richard Plantagenet, Seats on the main floor of a the Duke of Gloucester (1452– theater auditorium; a balcony or 1485), becomes King Richard gallery is overhead, and boxes (if III (r.1483–1485) by killing or any) would surround the stalls arranging to kill everyone

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OTHER REFERENCES ballcock Myra Hess Sardinia An island off the west coast of Italy in the Mediterranean Sea. Its name is thought to derive from a Sea People called the Sherdan who settled the island around the 12th or 13th century B.C.E. (during the Bronze age). The sardine, a small fish in the herring family, was and may still be abundant around Sardinia, which is how it received its name. The European version is found in the Mediterranean Sea and on the Atlantic coast from Britain A valve, like in a toilet, that Dame Myra Hess (1890–1965) was to Spain. Sardines can be used for automatically regulates the amount a British classical pianist. During bait, as well as sold fresh, dried, of liquid in a tank via a hollow ball World War II, including through the smoked, salted or canned in oil and lever attached to the tap German bombing of London, she for eating. organized a series of almost daily Madeira lunchtime concerts at the National A reference to either the Gallery in order to boost British Portuguese islands in the Atlantic morale. Hess herself sometimes Ocean southwest of Portugal/ played, and by the time the war west of Morocco or the fortified ended, more than 1,300 concerts wine made there. Madeira wines had been given. are fortified with brandy and were very popular in colonial America Oxfam because of Madeira’s location on An international non-governmental trade routes. organization working to end poverty. Founded in 1942 as Oxford Marbella Committee for Famine Relief, the organization now works in Latin America, Africa, Asia and Eastern Europe.

A famous resort city of about 140,000 on the Costa del Sol in Andalusia in southern Spain, about 50 miles from Gibraltar. It’s surrounded by the Sierra Blancas on the north and the Mediterranean Sea on the south, which provides miles of sandy beaches.

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For Further Reading and Understanding

SELECTED WORKS BY FARCE MICHAEL FRAYN No Sex Please, We’re British: A Plays Comedy in Two Acts by Anthony Marriott and Alistair Foot, Samuel The Two of Us: Four One-Act Plays, French, Inc., 1973. Samuel French, 1970. A Century of English Farce by Benefactors: A Play in Two Acts, Leon Hughes, Princeton, 1956. Methuen, 1984.

Noises Off: A Play in Three Acts, ONLINE Anchor Books, 2000. "The Big Interview: Michael Frayn," Copenhagen, Methuen, 1998. The Stage, May 10, 2015. https://www.thestage.co.uk/ Democracy, Methuen, 2003. features/interviews/2015/big- interview-michael-frayn/ Translations of plays by Anton Chekhov. Video interview with Michael Frayn and The Guardian’s Andrew Dickson on YouTube. Fiction https://www.youtube.com/ watch?v=Nj9tVHc6kDg The Tin Men, Little, Brown, 1965.

The Russian Interpreter, Viking FILMS Press, 1966. Clockwise, screenplay by Michael The Landing on the Sun, Frayn, directed by Christopher Viking, 1991. Morahan. Starring John Cleese and Alison Steadman. 1986. Spies: A Novel, Metropolitan Books, 2002. Noises Off, screenplay by Marty Kaplan based on the play by Michael Frayn, directed by Peter Nonfiction Bogdanovich. Starring Michael Caine, Carol Burnett, Christopher The Human Touch: Our Part Reeve, Marilu Henner, Denholm in the Creation of a Universe, Elliott, Julie Hagerty, Mark Linn- Metropolitan Books, 2007. Baker, Nicollette Sheridan and John Ritter. 1992. My Father’s Fortune: A Life, Metropolitan Books, 2010.

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