I was always under the impression that it would be very remiss to miss a Michael Frayn play whenever it comes around, so when eight Michael Frayn plays turn up on one bill you have to clear your diary and get to that theatre, which is exactly what I did, writes Michael Holland.
Frayn’s Alarms & Excursions consists of eight short plays from the 90s. The first one – Alarms – deals with what was then modern technology. Alas, the modern technology of today failed to work so the show did not begin until 30 minutes after the proposed start because Alarms was more than just actors speaking on a stage, but a play requiring lots of SFX. Frayn could not have written a better start to prove the point he was trying to make.
When Alarms finally began we came upon guests arriving at a dinner party and being asked to switch off their mobile phones so they would not interfere with the anticipated conversation. Soon, the evening was beset with beeps and buzzers going off that had to be traced down. One was the smoke alarm needing a battery, the other the oven timer. Then a car alarm sounded, and a cordless phone rang somewhere in the house, all of which had our hosts and guests running in and out of numerous doors. Farce has been done better and funnier by Frayn.
Play 2, Toasters, dealt with company events where you have to juggle a finger buffet, a glass of wine, read a financial report and raise a glass to toast whoever has been awarded Employee of the Year. It went on too long and became as tiresome as a company meeting.
The third play, Doubles, had two couples in adjoining hotel rooms. The usual checks for dust, and of facilities, were carried out before the couples went down for dinner and sat at adjoining tables. On their return, the pairs discussed their neighbours, which is when the north/south class divide raised its snobby head, and assumptions were made about each other.
And, of course, when you see another stage with four doors you know those couples are going to be in and out of them like rabbits escaping the fox.
After the interval, Leavings took us back to the opening play with the dinner guests now taking a lifetime to say their goodbyes, eliciting more door action. There were a lot more disturbing electronic sounds but no one was intent on seeking out the cause of the beeps and buzzing interference this time.Instead, the cast valiantly spoke louder to be heard. This was modern technology once again getting its own back. Or, perhaps, a rogue robot reviewer commentating live! The lack of comedy was beginning to take its toll now.
Michael Frayn holds up a mirror to us all, so we can relate to much of what he has his protagonists say and do. Yes, we have awkward moments when the small talk dries up; yes, we listen to arguing neighbours through walls; yes we mock others’ accents behind their backs, and, yes, we are all trying to get along in this world. But just showing that on a stage with no new insight does not entertain. We need to laugh at ourselves and the laughs were rare in these plays. The applause at the end of each was polite rather than enthused.
Before the fifth play, Look Away Now, we were asked to visit the bar again while more technical problems were sorted out. Some people went to the bar, some people saw the exits and went through them like rabbits. I followed.
The cast soldiered on but was obviously put off by what they had to work with, and, sadly, not enough was going right to make this night work.
Greenwich Theatre, Crooms Hill, SE10 until 26th March. Times: Tues – Sat 7.30pm; Sat matinees 2.30pm. Admission: £26, £21.
Booking: 0208 858 7755 – https://greenwichtheatre.org.uk/