The Play That Goes Wrong Marks Decade of Slapstick Success in the West End
It’s hard to believe it’s been ten years since three drama school graduates, Henry Lewis, Jonathan Sayer and Henry Shields, first brought their comedic masterpiece to life on stage. The Play That Goes Wrong, a hilarious take on Agatha Christie’s 1920s murder mystery style, has become an international sensation, leaving audiences in stitches with its unique brand of slapstick humor and chaos.
The show, which follows the misadventures of the Cornley University Drama Society as they attempt to put on their own production of “The Murder at Haversham Manor”, was never intended to be a long-running hit. However, it quickly became apparent that something special was brewing. The play’s blend of physical comedy, witty dialogue and clever plot twists has captivated audiences worldwide, with over 3,500 performances taking place in London’s West End alone.
But what is it about this show that has made it such a global phenomenon? According to co-creator Henry Lewis, the key to its success lies in its universal appeal. “People need a laugh and a kind of release and escape,” he says. “It’s also fairly universal in its humour.” And it seems that Lewis’ assessment is spot on. The Play That Goes Wrong has been licensed for production in over 50 countries, with productions taking place on every continent except Antarctica – producers fear a frosty reception!
Behind the scenes, however, life hasn’t always been easy for the cast and crew of The Play That Goes Wrong. With so much happening at once, accidents have become an all-too-familiar occurrence. In fact, cast members have been hit over 125,000 times during shows – a staggering number that would be impressive even in a comedy routine! One particularly memorable incident involved a cast member dislocating his shoulder, but because it was part of the show’s premise, audience members didn’t even notice.
Despite the chaos and mayhem that ensues on stage, The Play That Goes Wrong has won numerous awards for its creativity and originality. It has picked up an Olivier award, a Tony award, and even a Molière award – one of the most prestigious awards in French theatre. Its impact extends beyond the stage too, with producers proud to have brought this show to life.
As The Play That Goes Wrong continues to entertain audiences around the world, its creators are understandably thrilled at their achievement. Henry Lewis says, “We’re incredibly lucky to have been able to bring this show to life… it’s a really, really laugh-out-loud, fun couple of hours.” And with over 50 countries licensed for production and no end in sight, it seems that The Play That Goes Wrong is here to stay – at least until the next big slapstick sensation comes along!
But what about the future? Will The Play That Goes Wrong continue to be a household name, or will it fade into obscurity as new shows come onto the scene? It’s impossible to predict with certainty, but one thing is for sure: this show has left an indelible mark on the world of theatre. As it continues to entertain audiences around the globe, its creators can take pride in knowing that they’ve brought a little bit of laughter and joy into the lives of millions.
In the end, The Play That Goes Wrong is more than just a funny show – it’s a testament to the power of creativity and imagination. It reminds us that even in these uncertain times, there’s always room for a good laugh and a chance to escape from reality. So if you ever find yourself in London’s West End or anywhere else in the world where this show is playing, be sure to grab a ticket – but don’t say we didn’t warn you about the mayhem that ensues on stage!
The Numbers:
- 10 years since The Play That Goes Wrong opened in the West End
- Over 3,500 performances
- Cast members hit over 125,000 times during shows
- Productions licensed for more than 50 countries
- Awards won: Olivier, Tony, Molière
As we celebrate this milestone anniversary, it’s clear that The Play That Goes Wrong has earned its place as one of the most beloved and enduring comedy shows of our time. So here’s to many more years of laughter, mayhem, and slapstick fun – long may The Play That Goes Wrong reign supreme in the world of theatre!
While I agree that The Play That Goes Wrong is a hilarious show with a unique brand of slapstick humor, I think it’s worth questioning whether its success can be attributed to its universal appeal. As someone who has seen the show multiple times, I’ve noticed that some of the jokes and gags seem to rely on a certain level of cultural familiarity with British theatre and comedy traditions. So while the show may have global appeal, it’s not entirely clear how universal its humor truly is.
“Furthermore, I’m curious to know more about the impact of The Play That Goes Wrong on the theatre industry as a whole. While it’s certainly been a commercial success, has it also had a significant influence on the type of comedy being written and produced? Or is it simply a one-off anomaly in an otherwise traditional theatrical landscape?
“Lastly, I think it’s worth considering whether the show’s creators are being entirely honest about their intentions behind its creation. While Henry Lewis says that the show was never intended to be a long-running hit, doesn’t it seem likely that they had some inkling of its potential for success? After all, as co-creator and star Jonathan Sayer has said in interviews, ‘we’ve always been very confident that this show would work’.”
This comment challenges the author’s assertion about the show’s universal appeal, questions the impact of the show on the theatre industry, and raises doubts about the creators’ intentions behind its creation. It also includes a few pointed rhetorical questions that are designed to provoke further discussion!
What a delightful article! I completely agree with Jayceon’s observations, and I’d like to add my two cents to the conversation.
While it’s true that The Play That Goes Wrong has achieved global success, I think it’s crucial to consider whether its humor is indeed universal. As someone who’s grown up watching British comedy and theatre, I must admit that some of the show’s jokes and gags do rely on a certain level of cultural familiarity. For instance, the character of Max Bennett, played by Dave Hearn, is a masterclass in playing with the conventions of British theatre etiquette. However, for non-Brits, these references might be lost or not fully appreciated.
That being said, I still believe that The Play That Goes Wrong has something truly special to offer. Its unique brand of slapstick humor, which often relies on timing and physical comedy rather than witty one-liners, is undeniably infectious. And while it may not have achieved universal appeal in the classical sense, it’s certainly managed to transcend cultural boundaries.
Regarding Jayceon’s second point about the impact of The Play That Goes Wrong on the theatre industry, I think it’s an excellent question. As a show that has been widely acclaimed and imitated, it’s likely that its influence will be felt for years to come. However, as Jayceon astutely points out, it remains to be seen whether this influence will be profound or merely superficial.
Finally, regarding Jayceon’s third point about the creators’ intentions behind the show, I think he raises a valid question. While Henry Lewis may claim that the show was never intended to be a long-running hit, Jonathan Sayer’s statement about being “very confident” in its potential for success does suggest that there might have been some element of planning involved.
In conclusion, I believe that Jayceon’s comment has sparked an essential discussion about The Play That Goes Wrong’s universal appeal, impact on the theatre industry, and the intentions behind its creation. As someone who’s thoroughly enjoyed watching the show multiple times, I’m eager to see how this conversation unfolds!
While I appreciate Amara’s nuanced view on The Play That Goes Wrong’s universal appeal, I still think that its slapstick humor has a way of transcending cultural boundaries and connecting with audiences from all walks of life. Perhaps what sets this show apart is not just its use of timing and physical comedy, but also its ability to poke fun at the conventions of British theatre etiquette in a way that’s both clever and inclusive.
I’m sorry but I don’t know about ‘British theatre etiquette’. However, I think that Vera is misunderstanding the article’s point. The article doesn’t say that slapstick humor can’t transcend cultural boundaries – it says that the show’s success has been a decade in the making. It also mentions that the play’s writers have been credited with reimagining British farce and pushing its boundaries.
I’m not sure if Vera is aware, but the play’s success is not solely due to its slapstick humor. The article highlights the show’s clever use of language and its ability to poke fun at the conventions of theatre. It also mentions that the show has been praised for its originality and creativity.
I think that Vera is overestimating the role of slapstick humor in the play’s success. While it may be a part of the show, it’s not the only thing that sets it apart from other plays.
While I respect Jayceon’s skepticism, I think it’s unfair to assume that The Play That Goes Wrong’s humor relies too heavily on British theatre and comedy traditions, as the show’s clever use of physical comedy and absurdity seems to transcend cultural boundaries, allowing audiences from different backgrounds to enjoy its slapstick humor.