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Noises Off by Michael Frayn
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Noises Off (1982)

by Michael Frayn

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The idea for it came in 1970, when Frayn was watching from the wings a performance of The Two of Us, a farce that he had written for Lynn Redgrave. He said, "It was funnier from behind than in front, and I thought that one day I must write a farce from behind." ( )
  payam-tommy | Mar 13, 2015 |
A first rate farce. The ending is different than that of the movie. ( )
  DinadansFriend | Dec 14, 2013 |
Saw. ( )
  ErinHorakova | Apr 8, 2013 |
Saw. ( )
  ErinHorakova | Apr 8, 2013 |
A comical and Brilliant play about a play. If you say the movie Inseption and didnt understand then Noises Off may not be the Book for you. I only wish I could see this show on broadway becuase it is a truely humorous and entertaining story. ( )
  Tyler_Russell | Mar 22, 2012 |
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First words
She puts the sardines down on the telephone table by the soda, and picks up the phone.

MRS CLACKETT: Hello...Yes, but there's no one here love.
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(Click to show. Warning: May contain spoilers.)
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Amazon.com Product Description (ISBN 0573619697, Paperback)

Farce / 5m, 4f / 2 Int. Called the funniest farce ever written, NOISES OFF returned to Broadway with Patti LuPone and Peter Gallagher and a manic menagerie that sent reviewers searching for new accolades as a cast of itinerant actors rehearsing a flop called NOTHING'S ON. "The most dexterously realized comedy ever about putting on a comedy. A spectacularly funny, peerless backstage farce. This dizzy, well-known romp is festival of delirium." - The New York Times "Bumper car brilliance...If laughter is indeed the best medicine, NOISES OFF is worth its weight in Cipro." - New York Daily News "The funniest farce ever written! Never before has side-splitting taken on a meaning dangerously close to the non-metaphorically medical." - New York Post "As side-splitting a farce as I have seen. Ever? Ever." - New York Magazine

(retrieved from Amazon Thu, 12 Mar 2015 18:03:22 -0400)

(see all 3 descriptions)

Noises off, the classic farce by the Tony Award-winning author of Copenhagen, is not one play but two: simultaneously a traditional sex farce, Nothing On, and the backstage "drama" that develops during Nothing On's final rehearsal and tour. The two begin to interlock as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage. In the end, at the disastrous final performance, the two plots can be kept separate no longer, and coalesce into a single collective nervous breakdown.… (more)

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