In many ways Michael Frayn's 1982 'Noises Off', with its infectious dynamism, hilarious script and unique premise is an example of slapstick theatre. So much so that when it was announced that the Sydney Theater Company would be performing their own interpretation of the classic, there was widespread concern that the show's reputation would outweigh that of the production, as often happens. Fortunately, these fears did not materialize. Under the direction of Jonathan Biggins, the Sydney Theater Company was able to produce a truly exhilarating and unique production. “Noises Off” tells the story of a company of unprepared actors attempting one last midnight dress rehearsal (which half the cast thinks is just a dress rehearsal). technical rehearsals) of “Nothing on”, a vulgar sex-fueled farce, and the subsequent poorly prepared shows. The comic potential of a farce within a farce is enormous; as Murphy's Law, written or otherwise, takes hold of the piece and, with a dizzying number of mistakes, propels the piece at a breakneck pace before spectacularly imploding in the climactic scene. Mark Thompson's set is a mechanical marvel with scrupulous attention to detail. The front of the set houses the “Nothing On” stage, a delightful country house converted from a 16th-century posset factory, filled with paintings, doyleys and Persian rugs. Combined with the soft, almost bright yellow lighting (Nigel Levings), reminiscent of candles and oil lanterns, the opening scenes seem comically anachronistic, a caricature of a traditional 20th-century British drawing room. The set is then taken a step further when it is rotated 180 degrees for the second act, showing the backstage of "Nothing on", completely devoid of frivolity, it is the antithesis of the original set, the center of the card.... ..ad Brooke Ashton spends her time flitting about the stage in her finery with a naive and endearing innocence, and Ricardo found the nuance and timing perfectly for the airhead role. However, in an undeniably difficult context it is important. the protagonist Garry Lejeune, played by Josh McConville, who steals the scene. With its sincere (and dangerous) commitment to physical comedy and myriad cues and missed cues to remember, it's a truly impressive lead performance. “Noises Off” certainly makes for an enjoyable evening of entertainment. Biggins makes the smart decision to cut from three acts to two so that the ending arrives just as you're aching for laughter. It doesn't try to be something it's not, just relaxed, mindless entertainment, and with all the drama of modern day life it's exactly what I wanted. Sit back, relax and enjoy!