Latest news with #AgathaChristie-esque
Sydney Morning Herald
25-06-2025
- Entertainment
- Sydney Morning Herald
Don't overthink it: This silly show may be what we need right now
THEATRE The Play That Goes Wrong Drama Theatre, Sydney Opera House June 24 Reviewed by CASSIE TONGUE ★★★½ It started in a 60-seat theatre above a London pub, and then took over the world. The Play That Goes Wrong – a farce about an amateur theatre troupe attempting to stage an Agatha Christie-esque murder mystery – is that rare thing in contemporary theatre: a raging commercial smash. This family-friendly show has been running in the West End for more than a decade and in Spain for almost as long, sparked a plethora of British 'Goes Wrong' TV series and specials, and has played all over the world. It's now back in Australia, wreaking havoc at the Sydney Opera House, after a buzzy 2017 debut. The Play That Goes Wrong veers wildly off script. Credit: Hagen Hopkins The show is fast-paced, silly, and engineered to wring every laugh it can out of its material: as the company tries to perform their serious murder mystery, they're contending with mislaid props, actors who don't know their lines (or can't pronounce them) and technicians too busy scrolling to land the right music cue. There are pratfalls, missed cues, and a set that's threatening to come down around the cast at any moment. Who did the murders? We find out eventually, but that's not the point: the point is the carefully scripted chaos. Originally directed by Mark Bell, overseen here by associate director Anna Marshall, and with a cast (which includes Aunty Donna's Joe Kosky) who have settled into their roles during this Australia/New Zealand tour, it's a polished piece that encourages scenery-chewing. There's so much to laugh at that it'll catch even the sourest audience member at least once, but you'll get the most out of it if you like your mayhem surface level and easily digestible. There's not much pathos behind all the comedy, meaning that existential human bent of the greatest farces is nowhere to be found. Instead, this is pure escapist comedy: a series of gags, mostly physical, designed to delight. The cleverest jokes are those feats of engineering, mechanics and rigging when the set itself 'goes wrong'; there's a collapsing set piece that adds the frisson of danger that propels farces to another level. The worst were dated in 2017 and feel ancient now, where the two women onstage are reduced to stereotypes of hysteria and jealous competition, and a moment a potential kiss between two men in the middle of a casting mishap is played for panic. Designed to add to the growing hysteria of a falling-apart production, these elements drag down the mood, more noise than joke. Am I guilty of overthinking a simple-pleasure comedy? Probably. And I don't want to discount the power this show could have to give kids (recommended for those aged eight and up) their chance to be bitten by the theatre bug, or to give audiences of any age a chance to blow off steam in an increasingly dark world by just having a reason to laugh. That's probably the best lens through which to view this play: it's a daffy, low-stakes outing that just wants you to cackle – or at least crack a smile – and get those feel-good endorphins flowing.
The Age
25-06-2025
- Entertainment
- The Age
Don't overthink it: This silly show may be what we need right now
THEATRE The Play That Goes Wrong Drama Theatre, Sydney Opera House June 24 Reviewed by CASSIE TONGUE ★★★½ It started in a 60-seat theatre above a London pub, and then took over the world. The Play That Goes Wron g – a farce about an amateur theatre troupe attempting to stage an Agatha Christie-esque murder mystery – is that rare thing in contemporary theatre: a raging commercial smash. This family-friendly show has been running in the West End for more than a decade and in Spain for almost as long, sparked a plethora of British 'Goes Wrong' TV series and specials, and has played all over the world. It's now back in Australia, wreaking havoc at the Sydney Opera House, after a buzzy 2017 debut. The show is fast-paced, silly, and engineered to wring every laugh it can out of its material: as the company tries to perform their serious murder mystery, they're contending with mislaid props, actors who don't know their lines (or can't pronounce them) and technicians too busy scrolling to land the right music cue. There are pratfalls, missed cues, and a set that's threatening to come down around the cast at any moment. Who did the murders? We find out eventually, but that's not the point: the point is the carefully scripted chaos. Originally directed by Mark Bell, overseen here by associate director Anna Marshall, and with a cast (which includes Aunty Donna's Joe Kosky) who have settled into their roles during this Australia/New Zealand tour, it's a polished piece that encourages scenery-chewing. There's so much to laugh at that it'll catch even the sourest audience member at least once, but you'll get the most out of it if you like your mayhem surface level and easily digestible. There's not much pathos behind all the comedy, meaning that existential human bent of the greatest farces is nowhere to be found. Instead, this is pure escapist comedy: a series of gags, mostly physical, designed to delight. The cleverest jokes are those feats of engineering, mechanics and rigging when the set itself 'goes wrong'; there's a collapsing set piece that adds the frisson of danger that propels farces to another level. The worst were dated in 2017 and feel ancient now, where the two women onstage are reduced to stereotypes of hysteria and jealous competition, and a moment a potential kiss between two men in the middle of a casting mishap is played for panic. Designed to add to the growing hysteria of a falling-apart production, these elements drag down the mood, more noise than joke. Am I guilty of overthinking a simple-pleasure comedy? Probably. And I don't want to discount the power this show could have to give kids (recommended for those aged eight and up) their chance to be bitten by the theatre bug, or to give audiences of any age a chance to blow off steam in an increasingly dark world by just having a reason to laugh. That's probably the best lens through which to view this play: it's a daffy, low-stakes outing that just wants you to cackle – or at least crack a smile – and get those feel-good endorphins flowing.
Telegraph
23-04-2025
- Entertainment
- Telegraph
I, Jack Wright, U&Alibi, review: a homespun Succession with a dab of Dallas
It's a legal myth created by Hollywood but once upon a time, TV and film were full of wills being read. Beneficiaries would gather solemnly around a long table, often in a spooky mansion, before a lawyer formally read aloud the terms of the deceased's last will. Cue shock revelations, long-buried secrets and all manner of melodrama. Such theatrical set pieces might have fallen out of fashion but the tradition is revived in I, Jack Wright (U&Alibi). Set in motion by a minted mogul's last will and testament, this gripping family thriller is half-whodunit, half-soapy dynastic drama. A homespun Succession with a dab of Dallas and an Agatha Christie-esque mystery at its heart. When the titular wealthy patriarch – Wright Snr (Trevor Eve) made his millions in the brick business and we don't mean Lego – died by what appeared to be suicide, his current wife and two eldest sons were outraged to learn they'd been left virtually nothing of his £100m fortune. As well-heeled hell broke loose, police investigated Jack's suspicious demise. Naturally, it turned out to be murder most foul. Disinherited wife Sally (Nikki Amuka-Bird) launched a legal challenge. Dissolute son Gray (John Simm, sporting an earring, black eye and bloodied nose) was being pursued by loan sharks and badly needed the payday. His brother John (Daniel Rigby) had been groomed to take over as CEO of the brick business but suddenly found himself frozen out, to the fury of his Lady Macbeth-esque wife (Zoë Tapper). Ruby Ashbourne-Serkis – as the daughter of Lorraine Ashbourne and Andy Serkis, the 26-year-old has impeccable acting genes – impressed as granddaughter Emily, an aspiring tech mogul with an agenda of her own. The dogged detective, DCI Hector Morgan (Harry Lloyd), was refreshingly free of gratuitous quirks, although I suspect his wife recently left him. The reasons will doubtless soon be revealed. He was also partial to a Columbo-style 'Just one more thing…' but who could blame him? Given half a chance, we'd all do it. In a knowing flourish, episodes were bookended by interviews with key players for what appears to be a true-crime documentary. Flashing forward two years, some were in prison, others had fallen on hard times. Some were haunted by guilt, others defiantly unrepentant. The gimmick added momentum, seeded clues and left the plot intriguingly poised. Production values were higher than one might expect from a second-tier channel. Action unfolded at country estates, swanky London offices and Parisian apartments. Interiors were enviably stylish, all gleaming parquet floors, chic lamps and designer kitchens. The cast was high-calibre, with the likes of Gemma Jones, Niamh Cusack and James Fleet adding heft in supporting roles. Created by Unforgotten's Chris Lang, it was packed with treachery and plot twists. This was a propulsive tale of greed, mistrust and dysfunctional family feuds. The script was darkly comic, with teenagers nabbing the best lines – notably one about frozen peas in a bodily orifice which was bound to have set off alarm bells at Birds Eye HQ. The BBC part-funded the series, so one assume it will tip up on terrestrial TV next year. That would be welcome, because it deserves a wider audience.
