THE PLAY THAT GOES WRONG at the Duchess Theatre

★★★★★

“May it enjoy 10 more years of destroyed sets and injured cast members!”

The Play That Goes Wrong celebrates its 10th anniversary this year making it the 28th longest-running show on the West End. Conceived by the Mischief Theatre Company, which has gone on to have numerous ‘Goes Wrong’ successes with their winning formula, The Play That Goes Wrong has been seen by just shy of 1,660,000 people since it first premiered on the West End stage in 2014. Though, it is perhaps more aptly to measure in disaster statistics – its 106 actors have been hit 125,000 times and the audience subjected to over 11,000 minutes of looped dialogue.

For those unaware of the smash hit, the play follows the plucky young members of The Cornley Polytechnic Drama Society as they try to put on a performance of an Agatha Christie style murder mystery called The Murder at Haversham Manor. Whilst the group’s performance is introduced by the already exasperated Chris Bean (Daniel Fraser), the in-show Director-cum-Stage Designer-cum-Prop Maker-cum-Any other role that you can think of, we see the state management team frantically trying to repair the stage and find a dog that has run off. A clear sign of what mayhem is to come!

And the play’s name couldn’t be more apt – everything really does go wrong. From the set falling apart, actors being knocked out, injuries to all manner of body parts, looped dialogue, misused props, breaking the fourth wall, cast squabbles, and even drinking white spirit – the cast cannot catch a break! Much hilarity ensues however from the cast pressing on no matter what – never deterred, even when they may be gripping on for dear life to a slipping desk on a falling ledge.

The performance’s cast cannot be faulted – they all bring a great vibrancy and humour to their roles, both as the student actors and their Haversham Manor counterparts. Most notable are Daniel Anthony as the adorably stumbling butler Perkins and Jay Olpin as the over-enthusiastic Cecil Haversham who has the perfect cheeky grin and comic movements for the role.

As this was the 10th anniversary performance, the audience was also treated to cameos from some of the original cast members as well as writer Jonathan Sayer. There are also the characteristic fourth wall breaks such as Robert Grove as Thomas Colleymore (Owen Jenkins) questioning why anyone would have a Duran Duran CD in 2024.

The set is brilliantly constructed. Its fluidity is highly impressive – the audience is continually surprised by what can and cannot be moved. Pyrotechnics are also used for some added flare. There is a working lift (until it goes up in smoke) and two floors whose failings lead to some of the play’s funniest scenes.

There is some reliance on recurring bits that in a few instances get old. The various characters drafted in to play Lady of the Manor Florence Colleymore are all knocked out at least once and fight incessantly amongst each other. Characters never leave the stage quickly – always doing a slow turn to the audience before exiting. Some more variety here would be particularly welcome – it is hilarious when the deceased Charles Haversham (Alex Bird) attempts to drag himself offstage without the audience noticing. More audience participation would also be welcome – Fraser responds excellently to an audience member who shouts out a minor spoiler during the famous ledger scene: “Do you have any idea how important this night is!?” he cries.

There is no doubt as to why this play has had such longevity. The setting and its hammed-up characters are instantly recognisable – the conventions to be broken and exaggerated immediately apparent. The slapstick is Fawlty Towers-esque – the frustration of the cast’s keener thespians growing and growing as the play’s chaos continues to mount. The show is also a lot of fun – humour is derived from wit as much as a sudden violent clash – and the set and in-show stage management team add a further playfulness. This is a show unafraid to show the ridiculous and the absurd behind the scenes of putting on a performance, and the audience could not be more appreciative.

Whether you are a fan of slapstick or not, you cannot help but have fun at The Play That Goes Wrong. May it enjoy 10 more years of destroyed sets and injured cast members!

THE PLAY THAT GOES WRONG at the Duchess Theatre

Reviewed on 10th September 2024

by Flora Doble

Photography by Danny Kaan

More reviews from this month:

REBUS: A GAME CALLED MALICE | ★★★ | CAMBRIDGE ARTS THEATRE | September 2024

THE GATES OF KYIV | ★★★★ | THEATRE ROYAL WINDSOR | September 2024

BALLET NIGHTS 006: THE CADOGAN HALL CONCERT | ★★★★ | CADOGAN HALL | September 2024

AN INSPECTOR CALLS | ★★★★ | ALEXANDRA PALACE | September 2024

VITAMIN D | ★★★★ | SOHO THEATRE | September 2024

THE BAND BACK TOGETHER | ★★★★ | ARCOLA THEATRE | September 2024

THE BOYS FROM SYRACUSE | ★★★ | UPSTAIRS AT THE GATEHOUSE | September 2024

MUCH ADO ABOUT NOTHING | ★★★★ | THE RED LION | September 2024

GUYS & DOLLS | ★★★★★ | BRIDGE THEATRE | September 2024

23.5 HOURS | ★★★ | PARK THEATRE | September 2024

THE PLAY THAT GOES WRONG

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★★★

“an interesting and very watchable production”

Absorbing the styles and visions of modern American playwrights and screen writers, Cameron Corcoran conjures up a contained, remote world in ‘Lone Star Diner’, illustrating the shattered American Dream from different angles and with emphasis on what he considers the overlooked perspective of women. The plot is neatly constructed, twisting through the dialogue to reveal the reasons behind the characters’ behaviour, relationships and decisions. The overall effect, however, is not so much a feminist standpoint in a misogynistic world, as an impression of hardship, helplessness and acrimony in the USA, in which Corcoran is influenced by TV series and films. The personalities in the play are clearly drawn from these. However, in recreating rather than growing into their own roles, they can only go skin deep and are consequently hindered from interacting with complete conviction.

Director, Mike Cottrell, works hard to build up the tension from slow, low-key suspense to the unexpected burst of the outcome, though the balance before and after the interval is like a team getting a talking-to at half time and pulling their socks up. In the end, Billie Hamer, as June, gives a strong performance, showing desperate frustration from a past of trauma and disappointment, but at the beginning she needs the jaded fragility of her suffering to be apparent and make sense of her actions. Seamus Dillane struggles with his American accent, somewhat undermining the ruthless confidence of Cyrus. His opening scene with June is sometimes too hurried and clumsy for someone who is emotionally detached; instead of the calculated persuasion of his vulnerable victim which should arouse our suspicions and empathy, it comes across as a heated discussion. As the exploitative employee Larry, Adrian Walker-Reilly goes for the sinister undertones and expressive eyebrows of Jack Nicholson. Unfortunately, he never quite achieves the malevolence and, though tied to an underpaid job, it is hard to understand June’s true fear of him. Jack Sunderland brings relief as Billy Lee, the lawman. Verging on over-mannered at first, he offers some captivating moments as he uncovers the complexity and confusion of his feelings and sense of personal debt and duty.

The black and white floor tiles and metal furniture of the set (Natasha Shirley) immediately set the scene, with the encroaching sand of the surrounding desert reminding us of the diner’s isolation. Daniel Maxted’s lighting design creates dramatic and atmospheric qualities throughout the show and which intensify the cinematic approach. As a reflection on the fraud, greed and inhumanity that has resulted from the American Dream’s ethos of freedom to attain prosperity and success, ‘Lone Star Diner’ is an interesting and very watchable production. Yet the focus on female liberation becomes overshadowed by the many peripheral ideas, from an outsider’s eyes, wound into the story to enhance the cultural image. The poignancy of modern American theatre comes from the fact that American playwrights are simply writing about life.

Reviewed by Joanna Hetherington

THE PLAY THAT GOES WRONG at the Duchess Theatre

★★★★★

“May it enjoy 10 more years of destroyed sets and injured cast members!”

THE PLAY THAT GOES WRONG at the Duchess Theatre

Reviewed on 10th September 2024

by Flora Doble

Photography by Danny Kaan

More reviews from this month:

THE PLAY THAT GOES WRONG

THE PLAY THAT GOES WRONG

Omnibus Theatre

Reviewed – 5th September 2019

★★★

“an interesting and very watchable production”

Reviewed by Joanna Hetherington

Lone Star Diner

Omnibus Theatre until 7th September

Previously reviewed at this venue: