The LAMB’s Production Features standout performances, inventive design work, and relentless momentum
The Play That Goes Wrong is exactly what the title promises: chaos, confusion, missed cues, collapsing sets, and absolute theatrical mayhem. Written by Henry Lewis, Jonathan Sayer, and Henry Shields, this production, directed by Robert Smyth, fully embraces the madness while never losing control of the comedy.
The plot centers on an attempt to stage a classic murder mystery titled The Murder at Haversham Manor. What should be an elegant whodunit quickly devolves into a complete disaster as props disappear, actors forget lines, set pieces collapse, technical cues fail, and performers struggle to stay in character while everything around them literally falls apart. The beauty of the play lies in watching a “bad” production performed with incredible precision by actors who are actually executing highly choreographed comedy and physical theatre.
This phrase might seem overpolished, but truly, there is no weak link in this cast. Everyone delivers 100 and then another 1000. As Dennis, the forgetful and distracted butler, Geno Carr is wonderfully committed to every beat of confusion and panic. Spencer Gerber as Max delivers the kind of energy that keeps the momentum constantly moving. Meanwhile, Caitie Grady once again proves as enchanting as in her previous performances. Her Annie is a loving tribute to every stagehand trying to keep a production alive while everything around them falls apart.
Brian Mackey shines as Chris, the increasingly frustrated director and actor desperately attempting to hold the play together. Then there is Bryan Banville as Jonathan — hilarious. Banville continues to prove how multifaceted and versatile he is as a performer; honestly, he is always a joy to watch onstage.
Walter Murray gives Trevor, the overwhelmed tech operator, a wonderfully witty personality, while Mike Sears, as Robert, delivers some of the biggest laughs of the night. Sears has had funny moments in other roles I’ve seen him play, but nothing quite like this. The physical comedy between him, Carr, and Mackey is absolutely fantastic. And Rachael VanWormer as Sandra is an absolute hoot, especially during her brilliantly choreographed fight scenes with Grady.
The true star of this production, however, may very well be Amanda Quivey’s set design. You could call it “disjointed,” but in the best and most purposeful way possible. Every collapsing piece and visual mishap becomes part of the joke. Combined with Taylor Olson’s lighting cues, the technical elements become active participants in the comedy itself.
Props are always fun in theatre, but here they are essential to the storytelling, and Jessica Couto absolutely understood the assignment as the props aided the physicality. The same goes for Jemima Dutra’s costumes, which fit perfectly alongside the rest of the production design — though I have to admit, the polka-dot pajamas were my favorite. Deborah Gilmour Smyth’s sound design also deserves recognition for adding momentum and punch to the audience’s laughter throughout the show.
This is a fast-moving production where actors are constantly juggling multiple things at once. As a spectator, you genuinely have to keep up, especially with the tension created by the stunts, leaps, and plops happening all around the stage. Smyth’s direction handles that dynamic majestically, giving every performer room to fully commit to the absurdity while sustaining the laugh trail from beginning to end.
I will admit: the humor is very British — delightfully silly, unapologetically over-the-top, and built on escalating disasters. But honestly? In these times?… It is also a very needed laugh and a genuinely good time at the theatre.
I also liked seeing all ages at the packed theatre, as this show can be enjoyed by all and has now been extended twice. Currently playing until June 14.
The Stage Manager for this production is Tyler Dean.
