There’s something wonderfully brave about putting on Noises Off. It’s fast, it’s complicated, and if the timing slips even slightly, the whole thing can unravel for the wrong reasons. Highbury Theatre’s latest production leans into that challenge, delivering a lively and engaging evening full of well-earned laughs and confident ensemble work.
Directed by Alison Cahill, the production shows a clear understanding of what makes Noises Off such a joy to watch. Rather than simply reacting to the chaos, the direction embraces it with control and confidence, allowing the humour to build naturally as everything gradually spirals.
At its heart, Noises Off will strike a chord with anyone who has spent time in a theatre. It follows a touring company attempting to stage a rather chaotic farce called Nothing On, and the audience is taken through the same show from three different perspectives: a dress rehearsal, a backstage view, and finally a full performance where everything spectacularly falls apart.
From the start, the production sets the tone nicely, allowing the world of the play to unfold before the comedy begins to escalate. What follows is a carefully layered descent into chaos—missed cues, misplaced props, and a growing sense that no one is entirely in control.
Act Two, viewed from backstage, is where much of the humour really lands. The contrast between what the audience hears and what is actually happening behind the scenes is brilliantly exposed, and the physical comedy is given plenty of room to breathe. Moments like Garry’s fall down the stairs land particularly well, timed with confidence and drawing a strong reaction from the audience.
By the final act, the production embraces full farce mode— curtain hardly opens, lines are muddled, entrances go wrong, and the sardines (which quietly become a running thread throughout) continue to cause confusion at every turn. It’s exactly the kind of escalating disorder the play demands.
Cast Performances
This is very much an ensemble piece with the cast work together. Very occasionally the pace could drop, however the production soon bounced back.
Denise Phillips (Dotty Otley / Mrs Clackett) anchors the production with a strong, assured performance. Her gradual shift into confusion is well judged, and she handles the physical comedy—particularly around props and the recurring sardines—with clear comic timing. I loved her ‘Hellooo’ on answering the phone. A really strong performance here by Denise, setting the perfect tone.
Sean Mulkeen (Lloyd Dallas) gives a confident performance as the director trying (and largely failing) to hold everything together. His voice stands out in particular—clear, strong and authoritative—which helps ground the scenes even as the chaos builds around him. We could feel his frustration “love”.
Gareth May (Garry Lejeune / Roger Tramplemain) brings energy and commitment to the role, particularly in the more physical moments. His staircase fall was a definite highlight, yes I know I’ve already mentioned it, but it really did add to the overall sense of controlled chaos. Think John Cleese and you’ll understand his performance. I particularly liked the way he… Well you know.
Teresa Berry (Brooke Ashton / Vicky) delivers a consistent and engaging performance. The visual comedy works well, and the running contact lens gag is handled with precision and clarity.
Beth Morrissey (Poppy Norton-Taylor) is especially convincing in the role, fully inhabiting Poppy’s increasing stress and responsibility. There’s a naturalness to the performance that makes her reactions feel authentic, helping to balance the broader comedy around her.
Dave Douglas (Frederick Fellowes / The Sheik) provides a measured and thoughtful performance, capturing Frederick’s nervous energy and sensitivity while still contributing to the humour. I really enjoyed this performance.
Mandy Yeomans (Belinda Blair / Flavia Brent) offers a steadying presence within the ensemble, bringing warmth and control that helps maintain balance in the more hectic moments. Not the easiest parts this one, but Mandy handled it perfectly giving time and space to the action and mayhem around her.
James Blackburn (Tim Allgood) delivers one of the more quietly memorable performances. He particularly shines in the scenes involving the ever-growing and shrinking flowers, as well as the audience announcements, which were handled with a nice sense of timing and subtle humour.
Ron Parker (Selsdon Mowbray / Burglar) clearly enjoys the role, delivering some well-timed comedic moments and bringing character and personality to each appearance.
Noises Off is a demanding piece of theatre, requiring precision, awareness and strong ensemble coordination—and this production meets those demands with confidence. I may have been tempted to keep the curtains open for the final interval so the audience could see the set revolve, but I guess there could have been a million reasons why that couldn’t have happened.
Rather than trying to smooth over the chaos, the cast embrace it, allowing the humour to come naturally from the situations, the timing, and the interactions between characters. The result is an entertaining and enjoyable production that captures both the complexity and the fun of live theatre. Congratulation Highbury Theatre.
Now where did I leave my lunch, anyone like to guess what I’m having?
Comments are closed