An amateur theater group premieres a ‘Murder Before Christmas’-style mystery play, and everything that can go wrong goes horribly wrong. Strangely prone to accidents on stage, the actors fight against adversity throughout the performance: breakdowns, confusions, unforeseen events, blows and falls, many falls, even the curtain. And, despite everything, they push the show’s maxim to the limit: the show must go on.
The ‘mateo’ theater in Breton reaches its peak this weekend with ‘The show that goes wrong’, which offers four shows in three days: today (at 9 p.m.), tomorrow (in a double session at 6 p.m. and 9 p.m.) and Sunday (at 7 p.m.).
The Show Gone Wrong, by Henry Lewis, Jonathan Sayer, and Henry Shields
Héctor Carballo, Víctor de las Heras, Carla Postigo, Armando Pita, Aránzazu Zárate, César Camino, David Ávila, Felipe Ansola, Luciana de Nicola, Teresa Ferrer and Ricardo Saiz
Friday 23 (at 9 p.m.), Saturday 24 (6 and 9 p.m.) and Sunday 25 (7 p.m.)
It is an internationally successful comedy that has been successful in more than thirty countries since its premiere in London’s West End in 2012. Paradoxically, it debuted in a pub before twenty spectators, of whom only four had paid. It has now been seen by more than eight million people, was the highest grossing on Broadway for two seasons and winner of prestigious awards such as the British Laurence Olivier for the best revelation.
The play opened in a London pub in 2012 and on Broadway the production amounted to four million dollars.
It was released in Spain last year, co-produced by SOM, Nearco, Cobre and Olympia Metropolitana, and had the expected response at the box office. The text is original by Henry Lewis, Jonathan Sayer and Henry Shields, the staging in our country corresponds to Sean Turner and the adaptation to Zenón Recalde.
He arrives in Logroño with a cast of eleven performers, almost stage athletes: Héctor Carballo, Víctor de las Heras, Carla Postigo, Armando Pita, Aránzazu Zárate, César Camino, David Ávila, Felipe Ansola, Luciana de Nicola, Teresa Ferrer and Ricardo Saiz.
In ‘The function that goes wrong’ each character recreates that uneasiness of putting on a play in which nothing can go well. Murphy’s law is taken to its maximum scenic expression and a certain absurdity takes over the production from the first moment with the complicity of the public.
This mix of Charlie Chaplin, Buster Keaton and Monty Python is an adventure of old-fashioned humor, a parody of the theatrical mysteries, in the style of ‘The Mousetrap’, by Agatha Christie, in which its creators wanted the public laughs at them more than with them; which invites you to laugh at yourself.
Originally, in that London pub, it lasted forty minutes and its success forced the addition of gags, thugs, effects and flaws until reaching nearly two hours of show. The production on Broadway already amounted to four million dollars.
And despite the big business it has become, it retains the soul of an ‘off’ theater of clumsiness and metatheatre, where the authors themselves, Lewis, Sayer and Shields, are represented on stage trying to bring to fruition the enormous mess of the function. A function, that even without seeing it, it can be assumed that it works extraordinarily well. At least at the box office.