Drama in School

“NOISES OFF”

Since my time as an Athenian boy in Roy Alcorn’s “Orestia” in 1970 until The Senior Dramatic Society’s, “Noises Off” this year, I have been involved in more than 40 school productions at BRA. Every one of them has been special in its own way but, I believe, Michael Frayn’s “Noises Off” was the most difficult piece of theatre I have ever undertaken. West End and Broadway productions have impressed audiences with expensive revolving stages and stunning visual effects; we had to rely on seven second hand doors from Gumtree and a lot of elbow grease. However, I also had the privilege of working with nine of the most gifted young people I have come across in one year group.

Noises Off is a modern classic farce relying on impeccable timing, intricate use of stage props and an unparalleled awareness of where everyone is, both backstage and out front, at all times. This made the rehearsal process unbelievably difficult at times and on one occasion I had to simply cut the rehearsal short to get my head in order!

Before I could confirm that this was indeed going to be the school play, I had to know that the young actors were capable of such a difficult enterprise.

After two weeks of rehearsals it was clear that they were indeed up for it and I duly applied for the Right to Perform. To my horror, the licence was not available for an indefinite time and I had to go to the cast with the disappointing news. To their credit, none of them blamed me and even agreed to let me write a play about our experience. As a last ditch attempt to continue, I wrote to Michael Frayn’s agents and they graciously gave me permission to stage the play on the understanding that I did not advertise the show on social media. From then on it was a joy for me to work so closely with Sophie,

Oisin, Niamh, Lorcan, Jolly Conor, Ben, Becky, Anna and Aoife. Their level of understanding and appreciation of the genre belied their years and it is not just blowing smoke to say that the success of this production is down to their amazing talent.

For those who are not aware of this play, it is basically a play within a play. In Act 1, the audience members become aware that they are watching a dress rehearsal of a traditional British Romp, when the director interrupts the performance to give notes to the somewhat troubled actors. In act two we see the same play but from back stage, (where noise is off), several weeks into the company’s tour. In Act 3 we again see the same play from the front, but on the final performance of the tour when everyone appears to have fallen out with everyone else, where everything seems to go wrong and no one really cares.

This is a play I have wanted to stage for many years and it lived up to and surpassed any of my expectations. The joy for me was to be allowed to create a space for the exceptional cast, to give them some advice and then to watch them bring so much more than I could have hoped for to the production. Thank you seems so inadequate. I am also indebted to my loyal stage crew and production team who did anything that was asked of them. I am also most grateful to those who auditioned, did not get a role but got involved in some aspect of the show. I am also grateful for my small, intimate band of teaching friends who gave up their time and talent to be involved.

I hope everyone who saw the show or were involved in any way, will have as fond memories as I do. “To think I used to do bullion vaults”!

R.J.