LOXEN’s ‘The Play That Goes Wrong’ is a Madcap Marvel of Malfunctioning Mayhem and Insanity!

Imagine theater’s longest-running show ever, Agatha Christie’s “The Mousetrap,” turned inside out and upside down into a nonstop laugh riot of bumbling incompetence by a hapless yet determined amateur troupe known for choosing their plays based on their member numbers. But even then things don’t exactly work out. Earlier Cornley Polytechnic Drama Society productions came with revised titles such as “Two Sisters,” “The Lion and the Wardrobe,” “Cat,” and “James and the Peach.”  

But this time, the nonplussed little British company is excited. They’ve managed to acquire the proper number of thespians, a stage manager, and a lighting-and-sound technician/stage hand to mount their very own version of a 1920s murder mystery called “The Murder at Haversham Manor.” The troupe’s heart-wrenchingly stubborn yet hilarious commitment to “The Play MUST go on”… despite an ever-increasing litany of slapstick-style pratfalls, missteps and malfunctions – both human and set-and-prop induced – leaves audiences gasping in laughter. “Gasping” because of all the unforeseen disasters – some quite shocking. In fact, I often found myself wondering if the actors, themselves, would survive their play in one piece.  

For “The Murder at Haversham Manor” is actually a fully realized (if horribly and incompetently produced – on purpose for our amusement!) play-within-a-play that forms the backbone of THE PLAY THAT GOES WRONG (never was a play more aptly named) by Henry Lewis, Henry Shields & Jonathan Sayer. A long-running hit both on West End and Broadway that’s been so embraced by London audiences that it never stopped playing there since its 2012 debut. Right now, it’s also playing off-Broadway. In fact, the Best New Comedy Olivier Award winner of 2015 has become a global phenomenon with productions in over 35 countries. 

And now thanks to Loxen Entertainment – a professional young theater company based in Miami that’s been garnering accolades for its family-friendly fare featuring local talent – we can also enjoy this set-breaking play in South Florida. LOXEN’s presenting the incredibly entertaining spoof of classic murder mysteries and what (really everything!) can go wrong during a live theater performance at Miami Beach’s most classic location, The Colony Theatre on Lincoln Road. It’s the non-profit company’s new home for the season, and maybe longer, due to a kind offer by the venue’s resident company, Miami New Drama. 

We can tell we’re in for a “different” and even, at times, interactive experience as soon as we enter the theatre to be welcomed by a British-accent, formally attired “director” who’ll guide us inside but won’t get out of character. With the lights still on and a few minutes to go, we watch the stage crew frantically attempt a last-minute set up, to no avail. When a mantel shelf simply won’t stay put beneath a large portrait of a bulldog,  a rather short female stage manager, Annie, invites a tall male audience member to help. First he can’t lift the “heavy” toolbox, and is left holding up the mantle while the little woman brings it to him with ease. Nothing they do will keep the mantel up, however, till it’s finally, ludicrously, pasted down with reams of bright masking tape. And somewhere during all this, it dawns on us that the play has, in effect, begun. 

Meanwhile, stage hand and tech board operator, Trevor, calls out for their missing dog. He also addresses the audience in a thick Spanish accent, welcoming us to “The Murder of Haversham Manure.” (Yes, he mispronounces “manor” like the fertilizer. Expect to hear plenty more malapropisms by various cast members.) But Trevor’s really most anxious to convey: “If anyone finds a Celia Cruz CD in the auditorium, it’s mine and I want it back.” 

We’ll be seeing a lot more of  “Noah” Stephanny Noria in her role as stage manager Annie as she tries her best to “literally” hold wall fixtures up and keep actors in line (by feeding them their lines) and even filling in with hilarious lack of talent and preparation for indisposed main female star, Florence, in Act 2. And when both troupe females succumb to being knocked temporarily unconscious, even swarthy, heavily accented Corey Vega – who plays lighting and sound technician Trevor – is recruited for the unlikely role of flapper seductress Florence. (Vega also provided period perfect and, in the case of their star flapper, spectacular dress design aided by company seamstress Selena Hernandez. Lucio Luciano gets credit for hair and makeup.)

Dressed to the Roaring Twenties nines, the original, Act 1’s femme fatale Florence – over-the-top seductively portrayed by Hannah Hayley with knockout sex appeal – owns the stage whenever she’s on. And she’s on a lot. We first find her hysterically sobbing over the corpse of her fiance Charles (Samuel Krogh) who’d not quite made it alive to their engagement party. Was his death a suicide or was he murdered by someone on the premises? And for us: Can he manage to play dead for more than two minutes? Um, not really. But then again being rolled over and dropped and having drinks spit onto your face would flummox the best of actors. 

As for his grieving fiancee, we quickly discover it’s all for show as she’s really in love with Charles’s brother, Cecil, played by the show’s producer/company founder Benjamin Leon VI. (An uber-talented young man who wears many hats and also makes a sudden appearance in Act 2 as Arthur, the gardener.) But whenever Florence throws herself at Cecil for a passionate kiss, they are interrupted by her brother (and the deceased’s best friend) Thomas (Ryan Crout), who’s everywhere at once. Much like the cyanide-laced alcohol serving butler Perkins (Giorgio Volpe) whose spirits are hailed as “excellent” before instantly projectile-spitting out. 

Of course there’s a fierce snow storm brewing outdoors (we observe hands outside the window throwing white fluff). Nonetheless, paper-snowflake-shedding Inspector Carter (Kalen Edean) makes it to the scene of what’s quickly designated a homicide. He orders a lockdown with everyone in the house suspect as he attempts to identify and catch the killer.  

But will anyone survive their fellow actors and that killer set?! Don’t think it’s easy to play a “bad” actor in the most physically challenging of circumstances where you’re just as likely to be dropped as carried by your castmates, knocked “unconscious” by swinging doors that won’t open when they should but smash into your head with a vengeance when you aren’t being victimized by falling wall fixtures. Not to mention a smoke-filled electrocution chamber of an elevator to an upper-level office whose sliding-down floor has you holding onto your desk for dear life. Internationally experienced and award-winning director Gonzalo Rodriguez  (and Loxen’s current artistic director and general manager) had quite the challenge, but nonetheless excelled at keeping everything and everyone in place as scripted (though I joked that in this show, there’s no way to notice a misstep or missed line). Meanwhile Frank Montoto kept the actors safe and on cue through his staging of the stunts and fight sequences. 

Not only must these great actors relate verbally and with split-second timing for what’s often extremely physically demanding humor, they also must keep alive and only “pretend” to be cowed by their ever annoying and often crash-down dangerous-looking set. In many ways, the Haversham house interior can be considered the true lead performer. An architectural marvel designed to hold up and come apart as needed (but then capable of being quickly put back together for the next performance!) by Loxen’s resident designers, the incredible team of Pedro Balmaseda & Jorge Noa (NOBARTE). 

Thanks to them, we can enjoy a Grand Finale wherein most of what’s left of the set falls over like a house of cards. Almost as if announcing what’s to come, the observant high- hung moosehead is first, followed by the final crash of the second floor office, and then even the heavy curtained back wall falls over to reveal (thankfully) a landing pad and disheveled crew. 

Lighting design by Ernesto Pinto was a constant presence as well, with blood-red foreboding flashes accompanied by eerie dramatic music and sound effects by Ryan Crout and Corey Vega. 

In Loxen’s five-year company history, they’ve only produced musicals. Company founder/CEO Benjamin Leon VI reflects that this straight comedy show presented their toughest challenge yet, even requiring some extra rehearsal time, but was well worth the effort. He adds: “The whole show needs to look like a disaster, but it runs like a well-oiled machine.” Does it ever! At the Sunday matinee I attended with an audience of all ages – including a couple rows of families with kids – the rollicking bursts of laughter and enthusiasm was nonstop. As was spontaneous applause for certain segments that were encouraged by fourth-wall breaking actors. All in all, a technically impressive and superbly acted fun and funny show! Not surprisingly, when it came time to take their bows, the actors were met by a unanimous standing ovation.

Loxen’s presentation of THE PLAY THAT GOES WRONG has everything right going for it. Don’t miss your chance to have a blast and see what all the buzz is about. Playing now through September 22 at The Colony Theatre, 1040 Lincoln Road, Miami Beach. For tickets, head to the Loxen Entertainment website at www.loxen.org. Here you’ll also find info on the rest of their 2024-2025 series that’s back to musicals with “Charlie and the Chocolate Factory” playing in December and “The Drowsy Chaperone” in February/March.