Ghostlight Theatre Artistic Director Richard Vines is hoping the comedic season opener “Noises Off” showcases the relatively new company and makes plenty of audiences laugh out loud.
“Hopefully they will be laughing into hysterics and that will bring them back,” Vines said. “This is a particular production that can really tell folks, ‘Look at what we can do, so come back for more.’”
Vines considers “Noises Off,” which opens Friday, one the funniest plays written in the last 50 years.
“It’s a farce that is a pretty wild ride from beginning to end, so folks will have to buckle their seat belts,” said Vines, who directs the show.
In “Noises Off,” the plot features a play within a play, in this case a sex comedy, where young girls run about in their underwear, old men drop their trousers and doors continually open and shut. The storyline revolves around the actors and directors who are trying to put on the show.
The play debuted on Broadway in 1983 with Victor Garber and earned four Tony nominations. People might be more familiar with the 1992 movie starring Carol Burnett, Christopher Reeve, John Ritter and Nicollette Sheridan.
Markus Maes, who portrays stuttering actor Gary in “Noises Off,” agrees with Vines about the show’s hilarious situations.
“It’s one of the funniest things that I’ve ever read in my entire life,” Maes said.
Maes normally tackles dramatic roles but chose to go the comic route for “Noises Off” and with his last show, “Moon Over Buffalo,” which was performed last season with Ghostlight.
“I usually take more of a serious route, but I actually have an obsession with comedy and love it a lot,” Maes said.
There were many challenges with “Noises Off,” Vines said, particularly the two-story set which is essential to the stage production.
Co-artistic director Matt McAuley designed and worked on the set, which took two months to complete.
“The set is pretty massive, but we have some very good results,” Vines said.
In the end, Vines hopes audiences embrace the company’s most challenging production to date because “it’s really very funny.”
“This play works on every level with some intelligent humor and door slamming and slapstick, and people can relate to the chaos that comes from it,” he said.