Each of the three acts of Noises Off contains a performance of the first act of a play within a play, a sex farce called Nothing On. The three acts of Noises Off are each named "Act One" on the contents page of the script, though they are labelled normally in the body of the script, and the programme for Noises Off will include, provided by the author, a comprehensive programme for the Weston-super-Mare run of Nothing On, including spoof advertisements (for sardines) and acknowledgments to the providers of mysterious props that do not actually appear (e.g. stethoscope, hospital trolley, and straitjacket). Nothing is seen of the rest of Nothing On except for the ending of its Act 2.
Nothing On is the type of farce in which young girls run about in their underwear, old men drop their trousers, and many doors continually bang open and shut. It is set in "a delightful 16th-century posset mill",[2][3] modernised by the current owners and available to let while they are abroad; the fictional playwright is appropriately named Robin Housemonger.
Act One is set at the technical rehearsal at the (fictional) Grand Theatre in Weston-super-Mare. It is midnight, the night before the first performance and the cast are hopelessly unready. Baffled by entrances and exits, missed cues, missed lines, and bothersome props, including several plates of sardines, they drive Lloyd, their director, into a seething rage and back several times during the run.
Act Two shows a Wednesday matinée performance one month later,[4] at the Theatre Royal in Ashton-under-Lyne. (Designed by Frank Matcham in 1891, the Theatre Royal, Ashton-under-Lyne was demolished in 1963.) In this act, the play is seen from backstage, providing a view that emphasises the deteriorating relationships between the cast. Romantic rivalries, lovers' tiffs and personal quarrels lead to offstage shenanigans, onstage bedlam and the occasional attack with a fire axe.
Act Three depicts a performance near the end of the ten-week run, at the (fictional) Municipal Theatre in Stockton-on-Tees. Relationships between the cast have soured considerably, the set is breaking down and props are winding up in the wrong hands, on the floor, and in the way. The actors remain determined at all costs to cover up the mounting chaos, but it is not long before the plot has to be abandoned entirely and the more coherent characters are obliged to take a lead in ad-libbing towards some sort of end.
Much of the comedy emerges from the subtle variations in each version as character flaws play off each other off-stage to undermine on-stage performance, with a great deal of slapstick. The contrast between players' on-stage and off-stage personalities is also a source of comic dissonance.
