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If you’re in need of a good laugh, St Andrew’s annual performance of the Drama Society (DramSoc) is sure not to disappoint, and this was especially true of this year’s production. Written by Henry Lewis, Jonathan Sayer and Henry Shields, the DramSoc’s take on ‘The Play that Goes Wrong’ was a brilliant display of theatrical chaos and a masterclass in breaking the fourth wall.
The farcical “play within a play” follows Cornley Polytechnic Drama Society as they attempt to perform ‘A Murder at Haversham Manner’. Quickly, chaos ensues, and the audience is guaranteed a thrilling watch with non-stop laughter as everything that could possibly go wrong does.
Directed by second-year Claire Oslington and produced by second-year Nicholas Craddock, the production was a class display of dramatic nuance. All characters seamlessly craft depth and balance between their two roles in this form of ‘metatheatre’ – each as both an actor in the Cornley Drama Society and a character in the whodunnit mystery.
The beginning of the play foreshadows the disastrous end, where stage manager Annie Twilloil (Hazel Jackman) and lighting and sound director Trevor Watson (Woody Whitford) scramble to fix a broken stage only moments ahead of their opening night performance. The audience is positioned to anticipate the play’s downfall from the getgo, which makes for a very exhilarating watch.
The familiar elements of a murder mystery are present as Charles Haversham, the heir of Haversham Manor, has been murdered. His death is mourned greatly by his fiancée, Florence Colleymoore, as her brother, Thomas Colleymoore, and friend Cecil Haversham (Charles’ brother) are suspects. Cornley’s director, Chris Bean, plays Inspector Carter, whose personal interest in the play becomes evident as he desperately tries to save the play from unravelling, all whilst staying in character.
The play then builds towards its climax as lines are forgotten and entries are missed in classic slapstick fashion. Most entertainingly, some actors fall victim to injuries on their own set. Crew members with no desire for acting are forced to go on and continue in their place as a last ditch attempt to keep the performance on track.
One of the play’s best moments is when the ensemble gets stuck in a dialogue loop, where the butler, Perkins, forgets his line, forcing the characters around him to repeat the same section again and again, causing them to gradually become more frantic and frustrated. A mundane mistake of a forgotten line is creatively heightened for brilliant comedic effect.
Another particularly enjoyable aspect was the incorporation of the set as a visual display of the play’s unpredictable nature. Initially, doors jam and props fall, but the state of the set gradually cascades towards spectacularly engineered complete destruction until it is a mere shell of what once resembled a cosy British manor. The physical theatre only increases throughout the play too – from rivalries between actors to full-blown sword fights. The ensemble’s continued humorous interaction with the ‘dead’ body of Charles Haversham also guaranteed countless laughs.
The play concludes in a farcical showdown, where Charles Haversham turns out not to be dead at all, and exposes the Inspector and Thomas for plotting to steal the Havershams’ money all along. It is here that the climax of the murderous plotline perfectly intersects with the havoc of the amateur actors, keeping the audience on their toes until the very end.
You couldn’t help but walk away with an appreciation for the immense ensemble effort of the cast, having to frequently switch between their two roles as sets collapsed and props malfunctioned around them. What appears as carelessness to the audience is, in fact, carefully timed, meticulously crafted moments of comedic genius. The continuing theme of disaster had the potential to grow tiresome, but it was the theatrical precision and paradox of intention amongst the disaster that made this play such an enjoyable experience.
Giving insight into her role as director, Claire reflected on the inspiring experience of watching the cast and crew’s hard work come to fruition. “DramSoc continues to be one of the most special parts of St Andrew’s college life, and my personal highlight of each year. The laughter, teamwork and organised chaos of the Play That Goes Wrong brought collaboration between students of diverse skillsets and talents. I am beyond proud of the show we created together, and I could not have asked for a more passionate, talented and hilarious group to bring this chaotic show to life.”
Ultimately, The Play that Goes Wrong was a delightful capture of the joy to be found amongst the chaos. It appealed to all theatregoers, experienced and not, and was a true testament to the unique thrill of live performance. All in all, it was another undoubtedly successful year of DramSoc, continuing the tradition of dramatic excellence here at Drew’s.
In the words of the director herself, “It was, quite fittingly, a play that went wrong in all the right ways.”
