The Play That Goes Wrong

By Henry Lewis, Jonathan Sayer & Henry Shields  

Directed by David Skeen; assistant director Bob Franklin

Performances: September 6-14, 2024

Auditions: 3 p.m. June 2 and 7 p.m. June 3

Welcome to opening night of the Cornley University Drama Society’s newest production, The Murder at Haversham Manor, where things are quickly going from bad to utterly disastrous. This 1920s whodunit has everything you never wanted in a show—an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines). Nevertheless, the accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences! Part Monty Python, part Sherlock Holmes, this Olivier Award–winning comedy is a global phenomenon that’s guaranteed to leave you aching with laughter!

Auditions

3 p.m. June 2 and 7 p.m. June 3

When the members of the Cornley Drama Society receive a windfall budget for their latest show, they attempt their most ambitious production to date: Murder at Haversham Manor. This is a very serious murder mystery and they are determined to make it a terrific presentation, despite their limited skills. Sadly, they are wholly unequal to the task and hilarity ensues. All characters can be of any age or race. There are some gender restrictions, but some flexibility there.

WARNING: This show is extremely physical! If you aren’t willing to take a prat fall (or wrestle, or dangle from a platform, or have water thrown in your face, etc.), this may not be the show for you.

CHARACTERS:

Jonathan: The murder victim. Since the play starts off with his corpse alone on stage, you might think he doesn’t have much to say or do. He should be so lucky. Probably the most physical role. A proper English gentleman. (English accent)

Sandra: Jonathan’s fiancé. A very physical role. Sandra would be an exceptionally fine actress...if she had lived in the 1920s. Her interpretation of “Florence” is, shall we say, excessively grand. (English accent)

Robert: Sandra’s overprotective (and somewhat violent) brother. Reasonably pompous. (English accent)

Dennis: Jonathan’s butler (or maid). A relatively inept actor (even by Cornley standards). Can’t remember his lines. Becomes distraught whenever the audience reacts inappropriately (that is, laughs) at him (her). (English accent)

Max: Jonathan’s brother, who is secretly having an affair with Sandra. This is Max’s first time on-stage and he gets “bitten by the stage bug” (HARD!). Quite a ham. Actually, more like the whole pig. Also plays the part of “Arthur the Gardener”. Max is another very physical role. (English accent)

Inspector Carter: The person in charge of the investigation of Jonathan’s murder. A very “take charge” kind of character. Also happens to be the President of the Cornley Drama Society and the director of this debacle...I mean surefire smash hit. (English accent)

Annie: The lone American in the show, Annie is the stage manager. Yet another very physical part. She is most resourceful and probably the most competent member of the Society (not a high bar to jump). Sadly, misfortune falls and she is forced to replace one of the cast members. Script in hand she fills in as best she can (that is, not well at all). She may be a competent stage manager, but she is a terrible actress. (American accent).

Trevor: The technical wizard (and I use that term loosely) behind the production. Trevor runs the sound and handles the lights (when paying attention). Also takes a turn filling in for one of the “regular” actors when things go south. (English accent)

Stage Hands (at least 2): These are both ACTUAL stage hands in the show, as well as people playing the part of stage hands for the show. They appear throughout the production, but particularly before the curtain speech. Opportunity for improv.

The Director

Since his first show with this theatre in 1972, Dave Skeen has been disappointing our audiences for over half a century. During that time, he has managed to bungle everything from lighting and sound design to acting and directing. Thankfully, he has never been in charge of costume design, primarily because of a lack of interest in the actors performing threadbare. When the subject of a director for “The Play That Goes Wrong” came up, the board with one voice said: “A play where things go wrong? Let’s give Dave a call!” The rest is history.