In one of the early scenes from last night’s production of “Move Over Mrs. Markham,” the main character, Joanna Markham, goes behind a downstage wall to mix a drink off stage. In a surprising and effective feat of lighting, the wall is illuminated from behind, revealing a scrim and allowing the audience to watch her shadow move about as she makes her preparations. The moment provides an interesting perspective on the otherwise flat set. If only such stage magic could have been used to reveal more depth to the decidedly one-note characters.

The show was presented by the “Tisch New Theatre,” a sorely needed new program aiming to provide non-acting NYU students the chance to perform. Of course, organizations such as CAST and Gallatin Theatre Troupe already exist to fulfill such a purpose, but these group’s productions are on a much smaller scale than the one attempted last night at Skirball. Indeed, the last thing one could say about “Mrs. Markham” was that it scaled anything back. The problem was that the scale was a little off.

Before the show started, an announcer informed the audience in a thick British accent that it was time to turn off their cell phones. It was immediately evident that this was going to be a British farce with a capital B for “bother.” As the night progressed, it was as if Topshop had opened a day early. Unfortunately, however, the performers’ success at maintaining their British accents was about as diverse as their majors. What the cast did have in common was a steady rhythm and an ability to project well. If that rhythm had eventually settled into one conducive for comedic timing, it would have been a great thing, but the unity of the cast was still admirable.

Everyone knows a farce is in the timing. As many sex jokes, double entendres, and puns there may be, if the timing is off, they all fall flat. Seeing as the plot to “Mrs. Markham” is something akin to setting “Noises Off!” in a brothel, there was definitely no shortage of these first three elements. The reason not all of them worked, however, was that there was a lack of contrast provided by the energetic performers. One of the more sardonic characters could have been used to balance the ceaselessly fast-paced shenanigans, but the opportunity was lost. Rather, the actor’s voice remained in one register the entire show with many of his witty lines not registering at all.

In the second act, the play’s timing picked up surprisingly with the introduction of new cast members and a succession of tightly written scenes. Also, the clothes started coming off which was reason enough to stick around. The shock of seeing a naked woman on stage in a latter scene landed a punch many earlier tossed aside witticisms failed to.

Though the nudity was a blast, the play still had some problems. As one character highlighted another’s supposedly “gorgeous clothes” he pointed towards a pair of ill-fitting trousers, an authoress suddenly appearing at the end of the play stole many winning moments but a vague physicality seemed to fluctuate between ages, and characters were constantly huffing and puffing after not really running anywhere. The play then abruptly ended with reconciliations seeming similarly unearned.

At one point during the show, a character declared: “I’m going to hate myself in the morning.” That is definitely not how one felt after attending “Mrs. Markham.” On the whole, the play was one that you recognized the fun in and wanted to love, but couldn’t quite bring yourself to, similar to an episode of Gossip Girl. I think the Tisch New Theatre is filling a large void on campus with what they’re trying to accomplish and I applaud them. I just hope the next show they choose will provide an experience less like going to a band concert and only being able to hear the brass section.