Noises Off

A Drama Play Critical Analysis

in Partial Fulfilment of the Subject
Creative Writing

Presented to
the English Department of
Parañaque National High School-Main
Senior High School Program

1.5” x 1.5”
Submitted by: Profile Picture
Printed & colored

COMPLETE NAME
YEAR AND SECTION

FERDINAND B. FABIAN, LPT

Teacher

JAUARY 17, 2025

 I. ABOUT THE PLAY

Printed colored picture of the play poster.

 Printed & colored picture of the playwright.

A. PLAYWRIGHT’S BIOGRAPHY

Write a short biography of the playwright.

(1 paragraph)

Michael Frayn, the writer of Noises Off, is a famous British playwright, novelist, and
journalist. He was born on September 8, 1933, in London, England, and started his career
as a journalist before moving into writing books and plays. Noises Off, which premiered
in 1982, is one of his most popular works and is often called one of the funniest plays
ever written. It’s about the chaos behind the scenes of a theater production and shows
how good Frayn is at creating clever, laugh-out-loud situations. Besides plays, he has also
written novels like Spies and Headlong, proving he’s a talented writer in many different
areas.

Printed & colored picture of the play director.

B. DIRECTOR’S BIOGRAPHY

Write a short biography of the play director.

(1 paragraph)

The original director of Noises Off was Michael Blakemore, an Australian-born theater
and film director who brought the play to life on stage. Born on June 18, 1928, in
Sydney, Australia, Blakemore is known for his skill in directing both comedies and
dramas. He worked closely with playwright Michael Frayn to create the hilarious and
fast-paced production that audiences loved when it first premiered in 1982. Blakemore’s
direction helped bring out the chaotic humor and sharp timing that makes Noises Off so
funny and memorable. Over his career, he directed many successful plays and earned
awards for his contributions to theater.

What techniques did the director and playwright used in order to come up with an artistic
presentation of the play which the audience greatly appreciated?
(1 paragraph)

The director and playwright used clever techniques to create an artistic and entertaining
play that audiences loved. Michael Frayn, the playwright, wrote the script as a "play
within a play," showing the chaos behind the scenes of a theater production while also
performing the play itself. This unique structure added layers of humor and made the
audience feel like they were part of the action. The dialogue was fast-paced, and the
timing of the jokes and physical comedy was carefully planned to keep the energy high.
Michael Blakemore, the director, used precise staging and choreography to make the
complex scenes run smoothly, especially during the chaotic moments in Act II, where the
characters are backstage. Together, their attention to detail and creativity made the play a
hit with audiences.

C. SYNOPSIS
Start by stating the type and classification of the play. (1st paragraph)
Then write a summary of the play. (2nd-3rd paragraph)

Noises Off is a farce, a type of comedy that relies on exaggerated situations, physical
humor, and misunderstandings to entertain the audience. Written by Michael Frayn, the
play is often considered one of the funniest and most brilliantly constructed farces in
modern theater. It is a "play within a play," where the backstage chaos mirrors and
amplifies the onstage drama.
The play follows a struggling theater company attempting to stage a mediocre play
called Nothing’s On. In Act I, we see the actors and director rehearsing late at night, and
it’s clear that things are not going well. Lines are forgotten, props are misplaced, and
personal conflicts among the cast create constant tension. Despite the chaos, the show
must go on.
In Act II, the audience gets a hilarious view of what happens backstage during a
performance. Relationships between the cast members unravel, and personal dramas spill
over, leading to silent but chaotic interactions as they try to keep the performance going.
By Act III, the final performance of Nothing’s On has completely fallen apart, with the
actors barely holding it together. The result is a hilarious and relatable portrayal of human
flaws and the unpredictable nature of live theater.

II. ELEMENTS OF THE PLAY

 Analyzing a stage play focuses on three basic elements – literary
features, technical aspects and artistic performance of the actors and
play production staff in general. Thoughtful exploration of these
elements provides the critics with substantial analysis and appreciation
not only with the aesthetic facets but with the cinematic dynamics of
the production as well.

A. LITERARY ELEMENTS

This part presents the fundamental literary elements of the

drama play focusing on the plot, characters, setting, theme, conflict,
mood, dialogues, tension, contrast, timing, and symbolisms.

1. PLOT
How was the plot of the drama performed by the actors artistically?

The plot of Noises Off was performed artistically by the actors through their precise
timing, exaggerated expressions, and clever use of physical comedy. Each actor brought
their character’s quirks and flaws to life, creating a mix of chaos and humor that kept the
audience entertained. The "play within a play" structure required the cast to switch
between their onstage roles and their backstage personalities, showcasing their acting
range. The carefully choreographed movements, especially in Act II when the action
happens silently backstage, made the chaos feel real yet perfectly controlled. The actors’
ability to handle fast-paced dialogue, mistaken entrances, and the use of props like
sardines added to the artistic and comedic effect of the performance.

1.1. Exposition
How did the story start?

The story of Noises Off begins during a late-night rehearsal for a play called Nothing’s
On. The cast and crew are struggling to get through the final rehearsal before opening
night. The exposition introduces the characters and their personalities, like the forgetful
Dotty, the insecure Frederick, and the stressed-out director, Lloyd. It sets up the humor
by showing their clumsy attempts to get everything right.
How did the conflict unfold?
The conflict unfolds as personal issues among the cast start to interfere with the
production. Romantic entanglements, jealousy, and misunderstandings create tension
between the characters. At the same time, they are dealing with misplaced props, missed
cues, and forgotten lines, which add to the chaos. These conflicts grow throughout the
play, making it harder for them to keep the show together.
1.2. Rising Action
What were the significant scenes or parts of the story which led to the climax? Cite at
least three scenes and explicitly explain the relevance of these scenes in connection to the
climax.
During the final rehearsal, Dotty struggles with remembering her lines and coordinating
with the props, especially the plate of sardines. This scene highlights the group's
unpreparedness and sets the tone for the chaos to come. The constant interruptions and
mistakes foreshadow the disorder that will escalate during the performance, building
tension and anticipation. In Act II, the audience sees what happens backstage during a
live performance. The cast’s personal conflicts like Garry’s jealousy over Dotty and
Brooke’s frequent breakdowns boil over while they try to keep the show running. For
example, Garry chases Freddie with a fire axe in frustration, and Dotty retaliates by
attacking him with a bouquet of flowers. This scene demonstrates how personal dramas
disrupt the production, heightening the stakes as everything teeters on the edge of
disaster. The characters repeatedly mix up props and cues, creating confusion both
onstage and backstage. For instance, Dotty keeps misplacing the sardines, and doors are
opened and slammed at the wrong times. This growing disarray is significant because it
shows how their inability to communicate and work together is spiraling out of control,
directly leading to the climax where everything falls apart.
1.3. Climax
What was the main climax of the story?

The climax of Noises Off happens during the final performance of Nothing’s On in Act
III. By this point, all the personal conflicts, miscommunications, and mishandled props
have reached their peak. The actors are no longer able to keep up appearances, and the
play completely falls apart on stage. Lines are forgotten, props are used incorrectly, and
the cast openly fights in front of the audience. This chaotic scene is the height of the
comedy, as it showcases the complete breakdown of both the play and the characters'
attempts to maintain professionalism.
1.4. Falling Action
What were the significant scenes or parts of the story after the climax which led to ending
of the story? Cite at least three scenes and explicitly explain the relevance of these scenes
in connection to the ending and realization of the main characters.

After the climax, the cast continues to perform Nothing’s On, even though it’s clear that
everything is falling apart. They desperately try to cover for each other’s mistakes, such
as improvising lines and attempting to reset misplaced props. This scene emphasizes how
the characters cling to their professionalism, even when the situation is hopeless. As the
play progresses, the actors become increasingly exhausted and frustrated, leading to more
mistakes and conflicts on stage. For example, Dotty becomes completely overwhelmed,
and Garry’s anger grows uncontrollable. These moments reflect the characters’
realization that their personal issues have derailed the production, showing their
vulnerability and human flaws. In the final moments, the performance collapses entirely,
with characters abandoning the script and chaos overtaking the stage. This brings a
humorous yet bittersweet conclusion, as the characters must face the consequences of
their actions and relationships. The ending serves as a reflection of how teamwork and
communication are essential, but when those fail, chaos can take over.
1.5. Denouement
How did the story end?
The story of Noises Off ends in total chaos during the final performance of Nothing’s On.
By the end, the actors have completely lost control of the play, with forgotten lines,
misplaced props, and onstage arguments causing the performance to unravel. The cast
and crew are left in disarray, with no chance of saving the production. The audience is
left laughing at the absurdity of it all, as the play’s ending highlights the humor and
unpredictability of live theater. The chaotic finale serves as both a comedic conclusion
and a reflection on the challenges of working together under pressure.
2. CHARACTERS
2.1. Major Characters
Name and brief description of the protagonist/s.
Dotty Otley: Dotty is an experienced but forgetful actress who plays Mrs. Clackett, a
housekeeper, in the play Nothing’s On. She tries her best but often messes up her lines
and props, especially the sardines. She’s also in a complicated romantic relationship with
Garry, which adds to the backstage drama.

Lloyd Dallas: Lloyd is the director of the play Nothing’s On. He’s smart and creative but
gets annoyed easily because of the cast’s constant mistakes and personal issues. He’s
supposed to keep the play running smoothly, but his own love life causes problems too.

Name and brief description of the antagonist/s.

Garry Lejeune: Garry is an actor in the play, playing the role of Roger. He’s passionate
about his work but very emotional and jealous, especially when it comes to Dotty. His
outbursts and mood swings often make things worse during rehearsals and performances.
The Chaos of the Play: The main problem in Noises Off is the messiness of the
production itself. Everyone’s personal drama, poor communication, and silly mistakes
create a lot of confusion, making it hard for the play to succeed. This chaos is what drives
the story forward.
2.2. Minor Characters
Name and brief description of the other significant characters.

Brooke Ashton: Brooke is a young and pretty actress who plays Vicki in Nothing’s On.
She’s often spaced out and more focused on herself than the play. She constantly loses
her contact lenses and doesn’t pay attention, which makes things worse. She’s also
involved with Lloyd, creating more backstage drama.
Frederick Fellowes (Freddie): Freddie is an actor who plays Philip Brent in Nothing’s On.
He’s kind but very nervous and always overthinks things. He faints at the sight of blood
and avoids conflict, which makes him seem unsure of himself.
Belinda Blair: Belinda is one of the more sensible actors, playing Flavia Brent in
Nothing’s On. She tries to keep everyone calm and solve problems, but she loves
gossiping and can’t help meddling in other people’s issues.
Selsdon Mowbray: Selsdon is an older actor who plays the burglar in Nothing’s On. He
has trouble hearing and is known for sneaking off to drink, so the cast has to keep an eye
on him to make sure he doesn’t miss his cues.
Poppy Norton-Taylor: Poppy is the assistant stage manager who takes care of the behind-
the-scenes work. She’s emotional and feels unappreciated by the team. She’s secretly
involved with Lloyd, which adds even more drama.
Tim Allgood: Tim is the stage manager who works on the technical side of the play. He’s
completely overworked and sleep-deprived, trying to fix all the problems with the set and
the cast while barely keeping things together.
3. CONFLICT
Identify the type of conflict and provide a brief explanation.
The man vs. self conflict is seen in how the characters struggle with their own
insecurities, like Dotty forgetting her lines, Freddie’s nervousness, and Lloyd trying to
stay calm while managing the chaos. These conflicts drive the humor and show how the
cast’s personal and professional lives clash, leading to the hilarious disasters on and off
the stage.
4. SETTING
4.1. Place/Local
The play is set in two locations: the stage and backstage of a theater where the cast is
performing a farce called Nothing’s On. Most of the action happens during rehearsals and
performances at a provincial theater.
4.2. Time/Weather/Season
The events take place over several weeks, starting during the final rehearsal and ending
with the last performance of the play. The exact time and weather aren’t specified, but it
is assumed to be contemporary to when the play was written, in the 1980s, and indoors,
so weather is irrelevant.
4.3. Social Condition
The characters are part of a small, struggling theater company, and their lives revolve
around the production. They are dealing with personal and professional pressures, like
romantic relationships, career insecurities, and financial struggles. The social condition
reflects the challenges of working in the theater industry, where teamwork and
communication are crucial but often difficult to achieve.
5. THEME
What is the general theme of the play?
The general theme of Noises Off is the chaos of human relationships and the
unpredictability of life, especially in a collaborative setting. It also highlights the
humorous and often disastrous results of miscommunication and personal flaws in a
professional environment.
How was the theme presented/evident in the play?
The theme is evident in how the characters' personal issues like romantic entanglements,
jealousy, and insecurities spill over into their work, causing constant chaos. The play
shows how teamwork and professionalism are crucial but often hard to maintain,
especially when emotions get in the way. The "play within a play" structure mirrors real
life, as the messiness backstage reflects the struggles people face in their relationships
and interactions. The humor and chaos serve to emphasize how unpredictable and flawed
human behavior can be.
6. MOOD

What is the general mood of the play?

The general mood of Noises Off is lighthearted, chaotic, and comedic. The play keeps the
audience entertained with nonstop humor, exaggerated situations, and fast-paced action.
How was the mood presented/evident in the play?
The mood is presented through the characters’ constant mistakes, miscommunications,
and over-the-top reactions. For example, scenes like actors forgetting their lines, props
being misplaced (like the sardines), and the backstage chaos in Act II create a sense of
absurdity and hilarity. The quick pacing and physical comedy—such as slamming doors,
tripping, and silent backstage antics—add to the playful and frantic atmosphere. Despite
the chaos, the humor ensures the mood remains fun and entertaining rather than stressful.
7. DIALOGUE
How did the characters exchange dialogues and converse with each other?
The characters in Noises Off exchange dialogues in a quick, witty, and often chaotic
manner. Their conversations are filled with misunderstandings, interruptions, and
overlapping lines, which reflect the disorganized and frantic nature of both the play
they’re performing (Nothing’s On) and their personal relationships. The humor in the
dialogue often comes from double meanings, sarcastic remarks, and the characters’
inability to properly communicate.
How were the lines delivered, and scenes acted?
The lines are delivered with exaggerated emotions and perfect timing to emphasize the
comedy. For instance, actors often shout over each other or rush their lines during
stressful moments, adding to the chaotic humor. Physical comedy complements the
dialogue, such as characters slamming doors, tripping over props, or reacting
dramatically to mistakes. These elements bring the script to life, making the interactions
lively and entertaining for the audience
8. TENSION
How was the tension built in the story?
Tension in Noises Off is built through personal conflicts, misunderstandings, and the
increasing chaos during rehearsals and performances. The tension grows as the
characters' personal issues interfere with the play, leading to disastrous and hilarious
situations.
Cite at least three parts or scenes of the play where tension between characters or
circumstances were evident?
Tension is evident in Dotty and Garry’s romantic relationship, especially when Garry
becomes jealous of Lloyd. During rehearsals, Garry’s jealousy causes arguments and
distracts the cast, adding stress to the production. During a live performance, the audience
sees the backstage tension as personal conflicts boil over. For instance, Garry and
Frederick get into a physical altercation over a misunderstanding, and Dotty fights with
Garry. Despite their conflicts, they must stay silent and keep the play going, which
creates comedic tension. In Act III, tension peaks when the cast completely loses control
during the last performance of Nothing’s On. Missed cues, forgotten lines, and misused
props cause the play to fall apart, with the characters openly arguing and improvising on
stage. This scene showcases the disastrous culmination of all the built-up tension.
9. CONTRAST
Cite at least three parts or scenes of the play where contrast between characters or
circumstances were creatively presented?
A significant contrast is seen in Act II, where the audience watches the backstage chaos
during a live performance. Onstage, the actors are trying to stay professional and perform
Nothing’s On, but backstage, they’re fighting, arguing, and dealing with personal drama.
This contrast between their public and private personas creates comedic tension. In
Dotty’s role as Mrs. Clackett in Nothing’s On contrasts with her real-life personality.
Onstage, she is supposed to be a calm, competent housekeeper, but in real life, she is
forgetful and struggles with the simplest tasks, like handling the sardines. This difference
makes her mistakes funnier. Brooke remains oblivious to the growing tension and chaos
around her. While the other characters are dealing with conflicts and trying to save the
play, Brooke focuses only on herself and her lines, ignoring the drama. This contrast
between her detachment and everyone else’s stress adds humor to the story.
10. TIMING
Cite at least three parts or scenes of the play where proper timing in terms of exchange of
dialogue, acting and song/dance performance were creatively presented?
The Sardines Scene in Act I, the recurring gag with Dotty and the sardines relies heavily
on perfect timing. Dotty repeatedly forgets her cues or mixes up the props, leading to
hilarious exchanges and reactions. The actors’ ability to pause, react, and recover at just
the right moments amplifies the humor. Backstage Chaos in Act II, timing is critical in Act
II, where the audience sees the behind-the-scenes madness during a live performance. For
instance, the silent physical comedy, such as Garry trying to attack Frederick while
remaining unseen by the audience, requires split-second coordination. The actors’
movements must align perfectly with the ongoing onstage dialogue for the scene to
work.The Collapse of the Final Performance in Act III, the timing of missed cues,
forgotten lines, and improvised moments during the disastrous final performance
showcases the actors’ ability to balance chaos with comedic precision. For example,
props falling out of place or characters entering at the wrong time create laughter because
of their well-timed execution
Elaborate on how the over-all performance of the actors exude appropriate timing in the
entirety of the play?
Throughout the play, the actors demonstrate impeccable timing in both their dialogue
delivery and physical comedy. They maintain the rapid pace of the scenes while making
every mistake, interruption, and reaction feel natural and spontaneous. This precise
timing keeps the energy high and the audience engaged, ensuring the chaotic humor lands
perfectly.
11. SYMBOLISM
What symbolisms or archetypes were used in the play and how relevant were they in
expressing sensible yet creative representations of thoughts, concepts, or ideas?
Explain how these symbolisms added creativity and aesthetic value to the story.
The sardines are a recurring prop that symbolizes the confusion and disarray of the
production. Dotty’s struggle to manage the sardines reflects the larger theme of the cast’s
inability to keep things under control. The sardines’ comedic presence emphasizes the
ridiculousness of the play's chaotic situations. The numerous doors on stage represent
both literal and metaphorical entrances and exits in the characters’ lives. They are
essential for the farcical timing of Nothing’s On but also symbolize the barriers between
the characters’ personal and professional lives. The constant slamming of doors mirrors
their emotional turmoil and lack of communication. The concept of Nothing’s On as a
play within the play serves as an archetype of life imitating art. It symbolizes the thin line
between order and chaos, as the messiness of the actors’ personal lives disrupts their
ability to perform. This layered storytelling adds depth and humor to the narrative. These
symbols enhance the play by adding layers of meaning to the comedy. They creatively
express the themes of disorder and miscommunication while making the humor more
relatable and visually engaging.
B. TECHNICAL ELEMENTS

This part presents the fundamental technical elements of the

play.

How did the following technical aspects help in enticing the audience to better appreciate
the play? How did the entire production staff deliver quality work within their specific
tasks?

1. SOUND EDITING AND MUSICAL SCORE

Sound editing and musical elements in Noises Off were simple yet effective. The
occasional sound effects, such as door slams, footsteps, and stage noises, added to the
farcical humor and enhanced the chaos. The musical score, though minimal, helped to
transition between acts and set the comedic tone. The sound team ensured that the timing
of these effects matched the fast-paced action, keeping the audience engaged and
entertained.
2. MAKE-UP AND COSTUME
The make-up and costumes were designed to reflect the characters’ personalities and their
roles in the play Nothing’s On. For instance, Dotty’s housekeeper outfit and Brooke’s
revealing costume fit their onstage characters while contrast ing their real-life traits.
The make-up was subtle and natural, highlighting the actors’ expressions to emphasize
the physical comedy.
3. SPECIAL EFFECTS
While Noises Off doesn’t rely heavily on flashy special effects, the use of well-
coordinated physical gags served as practical effects. Props falling apart, doors slamming,
and objects being misplaced functioned as "special effects" that created a sense of chaos.
These elements were executed with precision to deliver the slapstick humor effectively.
4. PROPS AND PRODUCTION DESIGN
Props and set design played a central role in the play. The set, designed as a rotating two-
story layout, allowed the audience to see both the onstage and backstage action. Props
like the sardines, telephone, and plates added to the comedic timing and were often used
to create or solve problems within the play. The attention to detail in production design
heightened the realism and humor.
5. CINEMATOGRAPY
Since Noises Off is a stage play, it doesn’t include cinematography. However, the stage
direction mimics cinematic techniques by guiding the audience’s focus between multiple
events occurring simultaneously. The rotating set was used creatively to provide a
dynamic view, keeping the action lively and engaging.
6. EDITING
The editing equivalent for a stage play lies in the seamless transitions between acts and
scenes. In Noises Off, the crew ensured smooth scene changes, despite the complexity of
the rotating set and the physical gags. The timing of these transitions kept the pacing
brisk and maintained the audience’s attention.
7. SCREENPLAY
The screenplay, written by Michael Frayn, was the foundation of the play’s humor and
chaos. The witty dialogue, layered storylines, and detailed stage directions allowed the
actors and crew to bring the comedic situations to life. The script’s clever structure
ensured that every mishap and misunderstanding was purposeful and funny.
C. PERFORMANCE ELEMENTS

This part presents the fundamental technical elements of the

play.

How did the actors perform their specific roles?

How were they able to show effective performance to the roles they have portrayed?

1. DIRECTION
The director ensured the chaos on stage was carefully choreographed. Every movement,
interaction, and comedic moment was intentional, reflecting the director's ability to
manage the complex staging and fast-paced action.

2. ACTING AND NUANCES

The actors brought their characters to life by emphasizing their quirks and flaws. Small
gestures, like Garry’s frustration or Brooke’s obliviousness, added depth and made the
comedy more relatable. Their facial expressions and exaggerated reactions amplified the
humor.
3. CHOREOGRAPHY/BLOCKINGS
The blocking in Noises Off was highly detailed and demanding. Actors had to hit precise
marks to ensure the physical comedy like slamming doors or dodging props worked
seamlessly. The choreography backstage in Act II was particularly impressive, as the
actors moved silently yet chaotically.
4. CHARACTER ANALYSIS AND MOTIVATION
Each actor understood their character’s motivations, which added authenticity to their
performances. For example, Garry’s jealousy and Dotty’s forgetfulness were portrayed
with consistency, making their personalities believable and engaging.
5. VOICE AND VOCAL PROJECTION
Since Noises Off is a farce, the actors used loud, clear voices to ensure every line was
heard, even during chaotic scenes. They also used vocal variations like shouting during
arguments or muttering under their breath to add comedic effects.
6. EMPATHY
The actors made their characters relatable despite their exaggerated flaws. By showing
vulnerability like Freddie’s nervousness or Dotty’s frustration they allowed the audience
to connect with the characters and root for them, even as everything fell apart.

III. LITERARY CRITICISM

Composing a literary criticism in analyzing a stage play or drama
takes a simple story review on a much higher level of critical thinking.
Utilizing the fundamental concepts of employing literary theories in
comprehending, analyzing, and criticizing the story of a drama not only
helps in understanding the flow of the story but appreciating its
humanistic value as well.

A. LITERARY THEORY A
Brief description of the literary theory used and its relevance in
the deeper understanding and appreciation of the drama story.

Structuralism focuses on the underlying structure of a story, such as patterns, systems, or

binaries. In Noises Off, structuralism is evident in the layered format of a “play within a
play,” where the structure of Nothing’s On mirrors the chaos of the actors’ real lives.
Understanding these parallels allows the audience to appreciate how the story uses
structure to reflect its themes of disorder and miscommunication.
A1. Evidence and Critic Using Literary Theory A
1.1. First Evidence and Critic Using Literary Theory A

Cite the actual scene and real time

 Explain how the literary theory is evident in the cited

scene.
 Act I, during the rehearsal for Nothing’s On, when Dotty struggles with the sardines
and entrances. This scene highlights the structure of farce, where repetition and escalation
are central. The confusion with props and cues mirrors the structural breakdown in the
relationships between the cast members. The repeated mishaps create a comedic rhythm
that reflects the larger disorder.

1.2. Second Evidence and Critic Using Literary Theory A

Cite the actual scene and real time

 Explain how the literary theory is evident in the cited

scene.
Act II, the backstage chaos during a live performance. The dual structure of showing
both the onstage performance and backstage interactions demonstrates structuralism’s
emphasis on oppositions. The orderly play onstage contrasts with the chaotic reality
behind the scenes, emphasizing the fragile line between performance and real life.

1.3. Third Evidence and Critic Using Literary Theory A

Cite the actual scene and real time

 Explain how the literary theory is evident in the cited

scene.
Act III, the final performance where Nothing’s On falls apart entirely. The breakdown
of the play’s structure represents the culmination of structuralist patterns. The characters’
inability to maintain order mirrors their personal struggles, showing how the structure of
the play reflects deeper themes of chaos and failure.

A2. Literary Theory A Synthesis

Through its repetitive patterns, dualities, and layered storytelling, Noises Off uses
structuralism to explore the idea of control versus chaos. The structure itself becomes a
comedic device that enhances the audience’s understanding of the story.
B. LITERARY THEORY B
Brief description of the literary theory used and its relevance in
the deeper understanding and appreciation of the drama story.

Postmodernism challenges traditional storytelling by blending reality and fiction,

breaking the fourth wall, and embracing absurdity. Noises Off embodies postmodernism
by presenting a play within a play, where the boundaries between performance and real
life blur. This approach helps the audience reflect on the absurdity of human behavior
and relationships.
B1. Evidence and Critic Using Literary Theory B
 1.1. First Evidence and Critic Using Literary Theory B

Cite the actual scene and real time

 Explain how the literary theory is evident in the cited

scene.
Act I, when the characters struggle to rehearse and constantly break character. The
confusion during rehearsals blurs the line between actor and character, a hallmark of
postmodernism. This blending of roles challenges the audience to question what is real
and what is performance.

1.2. Second Evidence and Critic Using Literary Theory B

Cite the actual scene and real time

 Explain how the literary theory is evident in the cited

scene.
Act II, when personal conflicts spill backstage during the live performance. The
characters’ inability to separate their personal issues from their professional roles reflects
postmodernism’s focus on fragmented identities. The overlapping realities add layers of
meaning and humor.

1.3. Third Evidence and Critic Using Literary Theory B

Cite the actual scene and real time

 Explain how the literary theory is evident in the cited

scene.
Act III, the disastrous final performance where actors openly improvise. The deliberate
collapse of the play’s structure is a postmodern commentary on the unpredictability of
life and art. The absurdity of the situation forces the audience to confront the chaos
inherent in human existence.

B2. Literary Theory B Synthesis

Through its fragmented narrative and blending of realities, Noises Off exemplifies
postmodernism by using absurdity and humor to explore deeper truths about human
relationships and the nature of performance.
C. LITERARY THEORY C
Brief description of the literary theory used and its relevance in
the deeper understanding and appreciation of the drama story.
The comedy of manners examines social behavior, relationships, and the absurdities of
etiquette. In Noises Off, the characters’ attempts to maintain professionalism despite
personal conflicts satirize human flaws, particularly in group dynamics and
communication. This theory enhances the audience’s understanding of the play’s humor
and critique of societal norms.
C1. Evidence and Critic Using Literary Theory C
1.1. First Evidence and Critic Using Literary Theory C

Cite the actual scene and real time

 Explain how the literary theory is evident in the cited

scene.
Act I, when Lloyd tries to direct the actors despite their constant distractions. This
scene critiques the characters’ lack of professionalism and exposes their egos and
insecurities, hallmarks of the comedy of manners. The humor lies in their inability to
follow simple instructions, reflecting societal struggles with teamwork.

1.2. Second Evidence and Critic Using Literary Theory C

Cite the actual scene and real time

 Explain how the literary theory is evident in the cited

scene.
Act II, the backstage silent feuds during the live show. The characters’ exaggerated
attempts to uphold decorum while fighting backstage is a satire of social facades. Their
actions mock the human tendency to prioritize appearances over resolving conflicts.

1.3. Third Evidence and Critic Using Literary Theory C

Cite the actual scene and real time

 Explain how the literary theory is evident in the cited

scene.
Act III, the complete collapse of Nothing’s On as relationships and professionalism
break down. The climax critiques the fragility of social structures. The characters’ failure
to maintain the play’s order symbolizes the absurdity of human attempts to impose
control over chaos.

C2. Literary Theory C Synthesis

By satirizing human behavior and societal norms, Noises Off uses the comedy of manners
to deliver humor while providing commentary on the struggles of collaboration,
communication, and maintaining appearances.
D. GRAND SYNTHESIS
What social or humanistic values did it try to inculcate to the audience?
Noises Off imparts several social and humanistic values to its audience through its chaotic
and humorous narrative. At its core, the play emphasizes the importance of teamwork,
communication, and resilience, even in the face of constant challenges. It shows how
misunderstandings and personal conflicts can lead to comedic but avoidable chaos,
teaching the value of clear communication and cooperation in any endeavor.
The play also highlights the imperfections of human behavior, such as jealousy, egotism,
and stubbornness, reminding the audience to approach others with empathy and patience.
By laughing at the characters’ exaggerated flaws, viewers are encouraged to reflect on
their own actions and interactions in group dynamics.
Ultimately, Noises Off underscores the idea that life is unpredictable and often messy, but
humor and perseverance can help navigate even the most chaotic situations. These
themes resonate universally, fostering a deeper appreciation for collaboration,
understanding, and the ability to find joy amidst disorder.

These are the parts of your Drama Production Book:

TITLE OF THE PLAY

A Comedy/Tragedy Drama
Play Production Book Submitted
in Partial Fulfilment of the Subject
Creative Writing

Presented to
the English Department of
Parañaque National High School-Main
Senior High School Program

Production Cast and Staff Group Picture

Printed & colored
 Submitted by:
COMPLETE NAME
YEAR AND SECTION

FERDINAND B. FABIAN, LPT

Teacher

March, 2025

TOP COVER
(Design a catchy and creative poster for your assigned drama. You can make use of
simple yet catchy illustration or an avant-garde caricature symbolizing the theme of your
drama story).

DEDICATION
(This page is intended to mention the significant people whom you would want to
dedicate your drama play.)

ACKNOWLEDGEMENT
(This page is particularly reserved for all those people whom you would want to
acknowledge for whatever support and help they have extended to you throughout the
preparation and execution of your drama play).

I. DRAMA PLAY OVERVIEW

(1st Part: What the drama play is about?; What are the theme, setting, conflict and
highlights of the play?; What is the social significance or morale of the story
2nd Part: How were the entire production was able to formulate the story?; How were the
entire production was able to develop the action plan in producing the play?).

II. SYNOPSIS
(Summary of the drama play)

III. THE CAST

(Introduction of all the principal/main and supporting actors with a brief description of
their characters’ roles).

IV. THE PRODUCTION STAFF

(Introduction of the Artistic and Production Staff with a brief description of their
characters / roles).

A. The Creative Team and Stage Crew

Director: The captain of the ship, ultimately responsible for all creative and artistic
decisions in the production.

Production Stage Manager (PSM): The hardest job in show business, responsible for
coordinating every aspect of the production from scheduling to calling all of the cues
during a performance to maintaining the director’s artistic vision of the show once
performances have begun.

Casting Director: Responsible for bringing actors to the director for potential roles in the
production.

Technical Designers: Responsible for all the physical and auditory aspects of the
production.

a. Music Director: Oversees all musical aspects of the production.

b. Lights Director (Optional depending on the availability of resources):

Oversees all aspects pertaining to the application of lights design in the production.

Wardrobe / Costume Master / Mistress:

Takes charge of the costumes from conceptualizing, researching, designing,
constructing / sewing, producing and / or sequencing for the play.

Make-up Master / Mistress:

Takes charge of conceptualizing and creating the characters' make-up & prosthetics.

Master Props Man:

The one who conceptualizes, makes, produces and / or improvises the necessary props for
the entire play.

*Dramaturg (Optional / Usually in historical plays only): Aids in the continuity,

clarification, and storytelling of a production. Extremely helpful in period pieces for
maintaining authenticity.

*Conductor (Optional / Usually in heavy musical plays with live orchestra only):
Sometimes also the Music Director, the conductor sets the musical tempos of each
number, shapes phrasing, and leads the orchestra and the performers.

*Choreographer (Optional / usually when incorporating action stunts or fight scenes,

dance productions or special effects dynamics only): Responsible for telling the story or a
significant scene in the story which needs to be highlighted through dance.

Assistant Stage Manager (ASM): Assists the PSM in all of the above aspects.

Production Assistant (PA): Usually involved in a production from pre-production

through opening, a PA helps get the space ready, runs errands, sets props, and does
anything necessary to support the SM team.
Running Crew: These are all of the men and women backstage during a show who help
set scenery, props, and costumes during the course of a performance.

B. The Production Management and Marketing Team

The Producer: Plans and coordinates all aspects of a production, usually puts up and
helps raise money to make the show possible.

Marketing Manager:
Responsible for coordinating every aspect of 1) promoting and selling the play
production from poster & ticket design, distribution and selling; 2) providing and
purchasing of all essential materials necessary for the production; and 3) audits and
balances financial turn-ins, expenses and profits (if ever).

Marketing Staff: These are all of the men and women who help the Marketing Team
perform its duties and functions.

House Manager:
The House Manager seeks and reserves the venue where the play production will be
staged during the performance date. He / she makes sure that the venue is conducive to
hold the production both for the audience, the actors and the production staff. The House
Manager should mindfully prepare appropriate seating arrangement in the venue and that
it could accommodate the expected audience per show.

Ushers and Usherettes:

These are all of the men and women inside the house who would assist / accompany the
guests / audience to their seats and attends to their requests during the play.

Box Office:
The ticket booth staff who is in-charge of the ticket turnouts and ensures balance between
the ticket sales and the number of audience per show. He / she likewise sees to it that the
number of audience is coming in is controlled to avoid crowding.

V. DRAMA SCRIPT

ATTACHMENTS (To be attached after the Creative Writing Literary Fest)

A. PRODUCTION MEETING AND REHEARSAL DOCUMENTATION
B. DRAMA PRESENTATION
C. REFLECTIONS (A brief anecdote or sharing about each of the members’ personal
experience in doing the drama play. An individual account of each members’ application
of the concepts learned throughout the grading period and the lessons learned by them
which they were able to apply hands-on during the duration of the play production.
NOTE: This should be an individual entry for all members).
D. PRODUCTION SOFTCOPY
(Softcopy file of the Production book, photo and video documentation saved in a USB).

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