这张DVD是1998年九月在著名的卡内基音乐厅所主办的一场演唱会实况录像。从片子的名字就可以看出，参与演出的都是那些在百老汇音乐剧舞台上风光无限的女明星们。尽管从演唱会的人员名单上我们没有发现伯纳德彼得丝(Bernadette Peters)、依莲佩姬(Elaine Page)等无可争议的天后巨星，但朱迪安德鲁斯、李萨明里尼、林达伊德等名角的登场断不会让整台演唱会名不符实。总之，如果你对百老汇著名女演员的名字和她们演唱的曲目十分熟悉，那么这张DVD就是特别为你制作的；否则，台下观众接二连三的鼓掌欢呼一定会把你搞得莫名其妙。

In his plot for Noises Off, Frayn plays on the concept of a play within a play, in this case a dreadful sex-comedy titled Nothing On—the type of play in which young girls run about in their underwear, old men drop their trousers, and many doors continually open and shut. Nothing On is set in "a delightful 16th-century posset mill"[2][3] that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On.[4]
Act One is set at the dress rehearsal, the night before opening at the (fictional[5]) Grand Theatre in Weston-super-Mare, with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.
Act Two portrays a Wednesday matinee performance one month later,[6] at the (again fictional[7]) Theatre Royal in Ashton-under-Lyne. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. Also, there appears to be no true resolution. The play simply falls into turmoil and disorder before the curtain is pulled.
In Act Three, we see a performance near the end of the ten-week run, at the (still fictional) Municipal Theatre in Stockton-on-Tees, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance.
Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects 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.

In his plot for Noises Off, Frayn plays on the concept of a play within a play, in this case a dreadful sex-comedy titled Nothing On—the type of play in which young girls run about in their underwear, old men drop their trousers, and many doors continually open and shut. Nothing On is set in "a delightful 16th-century posset mill"[2][3] that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On.[4]
Act One is set at the dress rehearsal, the night before opening at the (fictional[5]) Grand Theatre in Weston-super-Mare, with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.
Act Two portrays a Wednesday matinee performance one month later,[6] at the (again fictional[7]) Theatre Royal in Ashton-under-Lyne. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. Also, there appears to be no true resolution. The play simply falls into turmoil and disorder before the curtain is pulled.
In Act Three, we see a performance near the end of the ten-week run, at the (still fictional) Municipal Theatre in Stockton-on-Tees, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance.
Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects 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.

11岁的安妮是个孤儿，住在汉尼甘小姐（Miss Hannigan）孤儿院里，汉尼甘小姐一直以欺凌和恐吓的方式管理着孤儿们。孩子们都希望能够尽快被新父母领养，从而过上幸福生活。安妮决定出去寻找亲生父母，途中遇到了一只友好的狗珊迪（Sandy）和因为大萧条而无家可归的人们。后来她被人送回孤儿院，富翁奥利弗爸爸（Oliver “Daddy”）的助理格蕾丝（Grace ）把她安排到他富丽堂皇的家，陪他过圣诞。.
尽管最开始，安妮和爸爸彼此很不适应，但随着接触加深，他们喜欢上了对方。奥利弗想收养她，安妮却坚信她的亲生父母回来找她。在罗斯福总统和夫人的帮助下，奥利弗在广播里登了寻人启示，重金寻找安妮的父母。汉尼甘小姐，她哥哥鲁斯特（Rooster）及其市侩的女友莉莉决定设计装扮成安妮父母，骗得奖金。 他们的诡计被揭穿了，同时他们坦白安妮父母已去世，于是奥利弗爸爸和安妮真正成了一家人。

11岁的安妮是个孤儿，住在汉尼甘小姐（Miss Hannigan）孤儿院里，汉尼甘小姐一直以欺凌和恐吓的方式管理着孤儿们。孩子们都希望能够尽快被新父母领养，从而过上幸福生活。安妮决定出去寻找亲生父母，途中遇到了一只友好的狗珊迪（Sandy）和因为大萧条而无家可归的人们。后来她被人送回孤儿院，富翁奥利弗爸爸（Oliver “Daddy”）的助理格蕾丝（Grace ）把她安排到他富丽堂皇的家，陪他过圣诞。.
尽管最开始，安妮和爸爸彼此很不适应，但随着接触加深，他们喜欢上了对方。奥利弗想收养她，安妮却坚信她的亲生父母回来找她。在罗斯福总统和夫人的帮助下，奥利弗在广播里登了寻人启示，重金寻找安妮的父母。汉尼甘小姐，她哥哥鲁斯特（Rooster）及其市侩的女友莉莉决定设计装扮成安妮父母，骗得奖金。 他们的诡计被揭穿了，同时他们坦白安妮父母已去世，于是奥利弗爸爸和安妮真正成了一家人。