When an ensemble of accident-prone actors take on a murder mystery performance, everything that can go wrong… does. But amount of chaos can crush their spirits, as they battle the odds to make it to their final curtain call – by any means necessary. Never has a play gone so wrong, yet felt so right.
The Play That Goes Wrong has launched its award-winning mayhem at Melbourne’s Athenaeum Theatre, and brings the house down in more ways than one. It’s non-stop mayhem from start to finish, but the performance kicks off well before the audience even take their seats.
Pre-show atmosphere is an important and occasionally underrated part of going to the theatre. The creatives behind this production have recognised its value, opting to have the cast roam the foyer before the show yelling for lost dogs, improvising chaos and interacting with the audience. It’s this level of engagement that had the crowd in high spirits before the first joke even hit. Once the play got underway, Jonathan Martin (Chris) wasted absolutely no time getting right into the comedy with a mini in-character monologue that set the tone.
The jokes-per-minute this production achieves should absolutely be studied because I’ve not seen another comedy play capable of dishing out so many solid laughs back-to-back-to-back. It’s two acts jam-packed with rapid-fire gags, slapstick jokes and ridiculous physical comedy. Not every joke is a gut-buster, but the frequency of comedic beats will put a remarkably consistent smile on your dial. That being said, this is a style of comedy very much tailored to personal taste. If you’re not a fan of the dumb, silly lowbrow humour, this might be a tough pill to swallow, but if you lean into the absurdity of the performances and narrative, you’ll be able to see its loveably quirky charm. The physical comedy is plentiful, with bodies flying and exaggerated actions leaving the audience in stitches.
There’s almost a Fawlty Towers like style to the comedy and interactions, with Jonathan Martin channeling his inner John Cleese for a few particularly zany moments. But while the comparison is accurate, this play does adopt a tone of its own. Across the two acts, there is a very strong use of running jokes that are cleverly evolved and switched up throughout the show. Some moments run their course pretty early and cross into cringey territory, while others remain hilarious through the 3rd, 4th and sometimes even 6th occurrence. Happily, those cringey moments are few and far between, and the high jokes-per-minute number means you’ll be laughing at the next one before you know it.
It’s one thing to credit the jokes, but it’s more important to credit the jokesters, as the seemingly endless energy these actors is astounding. Every one of the cast manages to keep up with the tempo and hit every mark. And besides, even if there is a minor hitch, it can be disguised as all part of the show’s mishaps – a benefit of making a play showcasing the making of a disaster-stricken play. Not only are they able to ensure they hit every planned mishap, they also expertly react to unplanned events in a way that blurs the line between what’s scripted and what’s spontaneous. There’s a very cleverly put-together 4th wall-breaking sequence that highlights the genius of the writing and wit of the scene’s lead performer.
While Martin brings composure and chaos to every scene, the rest of the cast are there to throw any sense of organisation in the trash. Edmund Eramiha has perhaps the most unique role, not playing a member of the murder mystery play’s cast, but rather Trevor, the sound guy positioned in the Athenaeum’s left box. His cool, charming demeanour made him a beloved part of the production, whose contributions garnered some of the bigger laughs. Joe Kosky (Robert) also makes a lasting impression with his dedication to physical comedy and really selling every predicament his character stumbles into. Sebastiano Pitruzzello makes his professional theatre debut as Max, and it’s clear he’s got a wildly successful career ahead from the way he hams up every key scene. He plays maybe the most animated, extra and jovial character, breathing life into each zany moment.
The rest of the ensemble, made of Olivia Charalambous (Annie), Tom Hayward (Dennis), Stephanie Astrid John (Sandra) and Brodie Masini (Jonathan), each show their value through unique personalities and their own respective stand-out moments. They all contribute equally to the comedy to where without one the whole thing falls apart… more than it apparently already is.
And, of course, there is the murder mystery element to the production, the play within the play, and while the mystery isn’t really the main focus, I did find a part of myself still wanting to solve the murder, no matter how absurd it became. That just goes to show that within all the mayhem, chaos and slapstick hijinks, there’s some quality writing at play from the creative team.
Before you make your way to the theatre to fill your soul with pure fun and laughter, I have some tips. If you see someone trip on stage, no you didn’t. See that object come loose? All part of the show. How about a structurally questionable balcony? Surely that’s not meant to be happening. But fret not: this is the only production you will ever see where the more that goes wrong, the more fun you’ll be having. I hope you’re not big on breathing, because between all the laughter you’ll be gasping for valuable breath.
Fun, chaotic and full of precisely-timed errors, there’s nothing more joyful than spending your evening in a room packed with infectious laughter.
FOUR STARS (OUT OF FIVE)
The Play That Goes Wrong is now playing at the Athenaeum Theatre in Melbourne through to September 28th, 2025 before causing mischief in Port Macquarie, Canberra and Perth. For more information and to purchase tickets, head HERE.
Reviewer attended on Wednesday September 3rd, 2025
Photo credit: Jordan Munns
