Farce traditionally is as its best when it’s presented seriously, which is why mainly the third act of Noises Off succeeds in making its entire audience laugh. As a play about actors playing actors playing actors both onstage and behind stage, it reflects its author’s statement watching one of his shows: “It was funnier from behind than in front.” Still, Asolo Rep actors are first rate all the way through. All but two performers double: Coburn Goss as the conflicted, sometimes exasperated (and exasperating) director and Scott Shomaker as assistant stage manager Tim who feels he should be recognized for more than ASM work. If there is a minor role, it belongs to Steve Hendrickson as an effective drunk, Selsdon Mowbray, who remembers his great days in theater. He now wreaks havoc hiding liquor on the set. He also effectively doubles as a burglar. It’s hard to keep track of the real romantic triangles among the actors and director, but actors’ importance as themselves and in their roles isn’t diminished a whit by their love interests. There is a problem, however, with fitting today into a play that’s from Britain at a different time. Not even actors’ accents and Tracy Christensen’s varied costumes work to ease the transition under Don Stephenson’s somewhat muddled direction. Three FSU/Conservatory students distinguish themselves in performances that rank as high as any of their professional co-actors. Katie Sah as an ambitious Brooke plays lengthily as Vicki in no apparent discomfort, constantly managing to face the audience in scanty attire. She’s got a wonderful companion in Andrew Hardaway, leading-man handsome as Garry, who makes a fabulous farceur backstage and in a breathlessly effective downstairs fall. Dylan Crow’s fabulous Frederick in real estate is also a stick as Philip whose courage is thwarted by nose bleeds or pants falling down when trying to mount stairs. He’s a hoot, too, as an Arab chieftain, a possible client of…Frederick! Kate Hampton is a natural playing distinguished actress Belinda, who can register any needed emotion with just her eyes! As Frederick’s wife Flavia, she turns comic but never loses her powerful dignity. Christianne Tisdale gets the staff’s work off to a good start and sustains her roles as maid and fretful actress throughout. She helps make bearable the repetition of an overworked joke involving sardines. Laura Rook is pathetic in what she considers a diminished tech role as well as because she is pregnant and unmarried. Michael Schweikardt effects both back and front of a stage scenically realistic and, with the help of Vic Meyrich’s amazing production shop, workable. Stephen Terry’s lighting is perfect, but Zach Moore’s sound design is overly loud, especially for the frequent slamming of doors. On opening night, all got softer and more natural—thus much better. Michelle Hart’s hair, wig, and make-up designs maintain her sterling reputation. A fine feature of Asolo’s production is an insert in the Season Program of a smaller program for “Nothing On,” the play being given by the cast to English audiences. It’s nicely satirical and representative of the era and nationality of Noises Off.
