The Play That Goes Wrong
As a young teenager I played Fantine in an amateur theatre production of Les Misérables. After undergoing transformation, my character returns at the end of the show to greet the central character, Jean Valjean in an emotional and touching reunion. There was just one problem. The earlier number had been lively and the duo playing the Thénardiers had covered the stage (and nearly knocked out the MD in doing so) with cutlery. Bear in mind, readers, I was barefoot. Oops, ouch! Picture fifty forks, knives and sporks and one teenager who needed to get across the stage with grace. This was a moment when I tried my best to maintain my composure and inch around the stage, while singing, crying in character, keeping in harmony and avoiding foreign objects near my toes. But as they say, the show must go on!
Now, you may be naturally asking, what does this have to do with The Play that Goes Wrong? Actually, quite a lot. The award-winning international smash-hit piece by the equally accoladed Mischief Theatre Company has been causing trouble for over ten years. The piece follows Cornley Polytechnic Drama Society as they attempt to perform The Murder at Haversham Manor, a 1920s typical murder mystery but as you guessed, a lot goes wrong. In fact, everything. We, the audience, are in for a ride.
Confession time — I am not a total stranger to Mischief Theatre Company. As a student in Brighton, I enjoyed its production of The Comedy About a Bank Robbery. Nonetheless, I was keen to see the show that launched Mischief Theatre Company and secured its place as a cornerstone of British comedy.
How can something so wrong be so right? From the moment you enter the theatre, you are immersed. While in the bar, you might be lucky enough to be asked by the stage crew, Annie (Izzy Edmunds-Clarke) if you have seen a dog. You might get to watch the crew attempt to do last minute sound checks or be asked by Trevor (Ronnie Yorke) if you have seen his Duran Duran CD boxset.
Doors that will not close become doors that never open. Everything this show does can often be brought back to one earlier interaction, moment or otherwise. Head of the Cornley Polytechnic Drama Society, Chris Bean (Jack Hardwick) explains the hardships the company has endured. Then, we launch into the most chaotic production. The set falls, the props are moved, the cast gets stuck in a loop of dialogue, the actors can’t remember their lines and there is a character that gets played by three separate people at one point. A comedy is only as strong as its players and everyone in the cast does a stellar job of keeping the action moving.
The comedy is fast, furious and physical. The wordplay is witty and clever. Something you saw at the top of the show will return. This is pure slapstick — the art of falling down and laughing at your friends when they land on their bum. It is silly, family-friendly, easy to digest. Admittedly, some jokes feel a bit tired the second time around. Other jokes don’t resonate with me personally, for example, the white spirit gag. Humour is hard at the best of times so what Mischief does may not be to everyone’s exact taste but within the two hour and twenty-minute show time, I dare you to not laugh more than once.
Let’s face it, theatre shows do not usually present a laugh a minute. And so, it seems reasonable to forgive the odd, overdone comedy. A standout for me in all this madness must be Mitesh Soni who plays Dennis, who within the world of The Murder at Haversham Manor plays the role of Perkins. Soni plays with earnest yet nervous energy. He mispronounces words that he has hastily written on his hand and beats himself up accordingly. We root for him. Even when he is the one behind the ledger being in the wrong place, which ends up breaking the fourth wall with the audience turning this murder mystery into a pantomime, telling Hardwick the ledger is under the seat. When he protests that this is a serious drama and not a comedy, it turns into a typical “Oh yes, it is” panto moment.
If you are looking for a serious, cutting-edge drama that will make you rethink the foundations of society, this is not for you. But this show is not trying to be thought provoking. Like the name infers, it’s the play where everything goes wrong. It shows the resilience of life, the resilience of the spirit of theatre. We carry on regardless. When walking out of the theatre, I message my friends, “I really needed that laugh today.” Theatre can absolutely transform; it can inspire a generation and place unseen narratives on stage. But sometimes, we all just need a good giggle.
This show was reviewed on the 2nd July 2025 at the Duchess Theatre, London where it runs until the 30th August 2026. Tickets available here: The Play That Goes Wrong | Duchess Theatre
Review written by Mary Condon O'Connor
AD/Gifted
Photo credit : Matt Crockett
Check out other reviews from Curtain Call Reviews and get in touch to have our reviewers head to your show.