Noises Off – Review – Stephen Joseph Theatre, Scarborough
By Elizabeth Stanforth-Sharpe, August 2025
It is an astonishing 43 years since Michael Frayn wrote the comedy play Noises Off, which had its stage premiere at the Lyric Theatre with a cast that included Patricia Routledge and Paul Eddington. It has scarcely had a week since then when it has not been performed somewhere around the world.
1982 was an era when the English sex farces – which often involved men with trousers around their ankles chasing dim, scantily dressed females in and out of ever-opening and shutting doors – were slowly beginning to disappear. Yet Frayn managed to capture their essence in such a way that his script, with very few updates, has not only endured into more politically correct times, but has also spawned PhD theses, become part of an actor’s professional “how not to conduct oneself” training, and even set theatre critics arguing over whether it is inspired by the philosophies of Freud, Wittgenstein or Bergson.
Just as the constant re-runs of classic TV sitcoms still have the ability to elicit a familiar humour no matter how many times they are viewed, Noises Off has the capacity to make an audience laugh at the foolishness of its characters, while perhaps also allowing them to lean into sympathy – and even an uneasy sense of recognition.
At Stephen Joseph Theatre we have an undisputed master of the technique of placing an imaginary world inside a fictitious one in our own Alan Ayckbourn. His Chorus of Disapproval is perhaps one of the most famous examples of juggling with the concepts of reality and illusion, blending layers of fiction and metafiction. Director Paul Robinson’s decision to bring the work of another master of the genre into the round felt brave, considered and edgy. It needed to be executed to perfection to win the hearts of those watching – and, collaborating with an exceptional team of cast and creatives, he has succeeded in doing just that.
“Frazzled and exhausted”
For those not familiar with the play, Ostar Productions are preparing for the run of Robin Housemonger’s farce Nothing On, about several affairs, a charlady and a plate of sardines. Act One sees the company in technical/dress rehearsals in Weston-super-Mare; Act Two features the happenings backstage as a Wednesday matinee is in full swing at the Theatre Royal, Ashton-under-Lyne; and Act Three sees them nearly at the end of a ten-week run, frazzled and exhausted, performing at Stephen Joseph Theatre, Scarborough. It is a bonkers, skilful, over-the-top but loving homage to the world of theatre, and the effort, stress and pressures involved in bringing a production together.
Kevin Jenkins is a stage designer whose genius often goes under the radar. I first became aware of his work in the chilling Hypothermia at SJT in 2010, and then had the privilege of working on his ingenious set for What We Wished For at Sheffield Crucible in 2017. More recently, he has brought some stunning presentations to SJT for Season’s Greetings, Birthdays Past, Birthdays Present, The Girl Next Door, Family Album and Constant Companions. I am sure I have missed some. It may be unorthodox to mention the designer before the cast, but in Noises Off, Jenkins’ blend of highly practical and visually beautiful craftsmanship is paramount to the comedic success of the whole production. Without it, little else would happen.
Every play must have its director. Nothing On has the rude, temperamental and overbearingly sarcastic Lloyd Dallas, whom the programme – only 6d and a mine of useful information – tells us “read English at Cambridge and stagecraft at the local benefits office”. He is having affairs with both Brooke and Poppy but is desperate that neither finds out about the other, though the inevitability is that they will. Lloyd is played formidably by Adam Astill.
The biography of Dotty Otley states that she “makes a welcome return to the stage to create the role of Mrs Clackett after playing Mrs Hackett …” Other roles have included “Fru Sackett” and “Mrs Duckett”. Susan Twist is wonderful in the role of Dotty Otley – deliciously confused as Mrs Clackett, the charlady whose only wish is to watch Ascot on the telly and eat her plate of sardines in peace, whilst also juggling misunderstandings as the actor who is having an affair with Garry but is not having an affair with Freddie. His close encounter with her pinny pockets is not to be misconstrued.
“Things get messy”
Garry Lejeune, who takes the role of Roger Tramplemain in Nothing On, impressively won the coveted Laetitia Daintyman Medal for Violence whilst still a student. Roger is an estate agent who intends to use an empty property to seduce Vicki, who works for the Inland Revenue. Garry is a leading man who is more than prone to jealousy and is still excelling in violence. Garry is played superbly by Alex Phelps, with a talent for acrobatic physical comedy that is breathtaking to watch.
Brooke Ashton plays Vicki in Nothing On, accompanied by the biographical detail that she is “best known as the girl wearing nothing but ‘good, honest froth’ in the Hauptbahnhofbräu lager commercial”. Brooke has simultaneous gifts for losing her contact lenses at the most inappropriate moments, being at total ease in her underwear, and being completely clueless about everything else. She is played by the delightful Olivia Woolhouse, whom SJT aficionados will remember made her professional debut last year in Alan Ayckbourn’s Show and Tell.
Frederick Fellowes, who has just been left by a wife who breeds pedigree dogs, is the actor who plays Philip Brent, who avoids taxes by living abroad. Freddie is prone to nosebleeds and can be rather slow. The role is taken by Andy Cryer, who is no stranger to SJT and always brings a special sparkle to the stage.
Flavia Brent is played by Belinda Blair, who was once a child star in Miss Toni’s Ten Tapping Tots. Belinda is a gossip, but also the sensible actor in the company who does her best to broker peace when things get messy. Belinda, in turn, is played by Valerie Antwi.
Selsdon Mowbray takes the role of Burglar. Mowbray, who is partial to the odd bottle or six of whisky, was last seen on stage as the Outraged Pensioner in Green Willies. Playing Mowbray is the tremendous Christopher Godwin, for whom SJT is also a special place. Whether playing at the Globe or portraying a drunken, bumbling burglar, his presence on stage never fails to impress – and his gorgeous voice can still melt butter.
“Emotional”
A play within a play – full of fun, silliness and mayhem.
But wait. A play, in or out of another play, needs stage managers. For both Nothing On and Noises Off the Company and Stage Manager is Tim Allgood, and the Assistant Stage Manager is Poppy Norton-Taylor. Tim is played by Charlie Ryan, while Poppy is played by Annie Kirkman – and they are both brilliant. Tim is overworked, must turn his hand to anything Lloyd requires (including getting embroiled in his clandestine love triangle), and is required to be understudy for whoever does not put in an appearance. Poppy is emotional, frazzled, and by Act Two has pregnancy hormones running amok.
But the real magic between Ryan and Kirkman happens during the two intervals, when they assist the actual SJT crew (stars in themselves) to change the sets. No spoilers, but do not even think about nipping to the loo or the bar – and wait patiently for the tray of ice creams to come to you. The entirety of the scene transformation is a play-within-a-play-within-a-play and is not to be missed.
There is, of course, one more vitally important set of characters in all of this. The sardines. Supplied by the Old Salt Sardine Company (established in 1924), they are known to bathe in the finest olive oil and to be delicious and nutritious. Slippery blighters and more than a little fishy, but essential to any excellent evening of entertainment.
‘Noises Off’ is at Stephen Joseph Theatre until 6 September 2025
images: Tony Bartholomew
