Event Article

It's not an easy play to bring off with this eclat. Farce, that most difficult of dramatic forms, is difficult enough. But in Frayn's version of backstage mayhem, the director and actors have to spend the evening making mistakes, do it realistically and still let the audience know that they're kidding.

The cheesy British theatrical company in question is doing a tour of a play called "Nothing On," playing the sticks. The first act takes place at the final dress rehearsal, on the play's living room set. The second act is a month later, backstage as the play is running its course out front, and shows how things sometimes are during a long run, with nerves frayed, alliances and matches strained. Act 3 finds the company at the end of the run two months later, when everything has fallen completely apart, except perhaps the provincial theater unfortunate enough to have booked "Nothing On."

Without going into the extremely complicated subplots running through the backstage shenanigans--complicated even for the most evolved farce (the onstage farce is knotty in itself)--let it suffice that director Chuck Ketter knows the genre and how to make it work beautifully. The tempos are sometimes preposterously (and correctly) hectic, and the intricate choreography of the action is deliciously smooth.

The split-second juggling of props, from a large fire ax to a delinquent bottle of booze to several misplaced bouquets, bedsheets, numerous plates of sardines and one of those memorable stage telephones that insists on ringing when it's off the hook, is masterly. Ketter's invention and craftsmanship in this production are flawless.

Of course he needed the right cast to fit his design, and he found it. The amazing thing is that they can keep a straight face throughout.

The role of fading comedian Dotty Otley, whose savings have backed this tour, can trap an unwary actresses tempted to overplay, but Cynthia Ryanen is outrageous in a way that makes Dotty's slapstick a highlight. Artie O'Daly accomplishes the same feat with his role of Garry, who never seems to know how to get through a sentence. Both have a candid grasp of character.

Patrick Dall'Occhio and Julie D. Remala in the play are the beleaguered couple whose home is the scene of riot, and backstage his nosebleeds and her gossiping are a delight. Remala is particularly effective for her delicious enjoyment of other's flaws.

Amberly-Susann Williams is charming in the play and backstage, making no bones about being a bimbo, and Christopher Younggren's frantic director, who's simultaneously staging a production of "Richard III," is on the nose.

Rounding out the excellent cast are Ramsey Warfield as the doddering, alcoholic character actor, Caroline J. Rule as the assistant stage manager and Richard Hewitt-Prock, a delight as the punker stage manager who's about as obtuse as drywall.