Review: GOOD LUCK, STUDIO, Salisbury Playhouse

Mischief Theatre's famous for the award-winning Broadway and West End The Play That Goes Wrong, currently running at the Duchess Theatre in London. Audiences carry on crying with laughter - "eight years on, still going wrong" is the show's motto - at The Cornley Polytechnic Drama Society attempts to put on a 1920s murder mystery.

Many going wrong offspring have been spawned in the funny fiasco franchise, including Peter Pan Goes Wrong, The Comedy About a Bank Robbery, Christmas Carol Goes Wrong and Magic Goes Wrong.

However, Mischief's new catastrophe comedy, Good Luck, Studio, goes very wrong - but perhaps not in the way the Mischief team intended.

As a former production assistant working in children's television, I can see why the premise of a dysfunctional cast and crew making a children's entertainment show for tiny tots is a good one.

Set against a garish castle and tree in eye-popping colours - think of a scattered pack of Skittles - designer Sara Perks immerses the audience in the fruit-ripened kingdom of Princess Pineapple and King Lemonhead. Even the scene-painted sky has orange segments floating among the clouds.

We are an audience of toddlers at the fraught recording of Wibble the Dragon. More could be made of this, as I don't feel the characters directly relate to an audience of young children. Also, the recording is at night - as indicated by a number of timepieces counting down the minutes. A bit weird for small children who should be tucked up in bed. And I've never heard of a kids' TV show with an audience of little ones.

All that aside, in a revolving set (which slows down the action, alas) we get a glimpse of what's going on in the gallery (that sadly looks more like an office).

Cynical BAFTA-winning director Andy (Tom Walker) hates everyone. Gauche scriptwriter Sean (Harry Kershaw) has the hots for leading lady Elizabeth and producer Saoirse (played by Bryony Corrigan speaking in a dodgy, and often impenetrable Irish accent) frets about health and safety, and the show running overtime. I feel her pain, as I wish the first act was tightened considerably.

This contrasts with angst-ridden scenes in the studio. Chris Leask, as a sympathetic Toby - the actor stuck inside the spotted and winged Wiggle dragon costume ­- keeps forgetting his truly appalling lines and swelters self-doubt.

Jaded leading lady Elizabeth (a good performance by Jemma Geanaus, as she really engages with the audience) agonises about getting a part in Call the Midwife. And shouty Shakespearean veteran Anthony (Adam Byron channelling Brian Blessed) looks suitably silly in a mustard-coloured costume.

Undervalued Pam (portrayed coincidentally by a totally under-used Eboni Dixon) fetches props and operates a cheeky frog puppet. It was hard to catch all of the frog's lines.

Sophia Lorenti's floor manager Michaela has the hardest job of all trying to convey the wishes of the gallery to actors on set. More could have been made of this, as miscommunication is at the heart of farce. And television.

Oh, and there's medic Kevin, with a too long slapstick scene involving (spoiler alert) superglue in the second half. Greg Tannahill provides us with the best physical comedy of the evening, but the set piece takes us away from the tension between gallery and studio.

The plot ambles round a discontented actor (Gareth Tempest) who was turned down for the role of Wibble. It takes a sinister turn that offers good references to Diehard and Drive (more of this, please), but maybe should avoid other unfortunate references to (spoiler alert) dead children. Also, the use of the word mental jarred a bit.

Getting farce to work is a skilled business, but I'm afraid the Mischief team hasn't got it right this time. There are some funny lines, but the dialogue should be more cutting. Also, the timing's off and the action too slow.

Director Henry Lewis hasn't blocked or choreographed actors' movements sufficiently. A shame as the best farces, such as Noises Off, are so bold and precise everything feels effortless.

This is the first time writer Henry Shields has penned a full-length play alone. Maybe he required the back-up of his usual team, so they could knock ideas about and polish the script.

Good Luck, Studio feels like one of the company's earlier am-dram send-ups, but not in the right way or for the right reasons. Despite my misgivings, the audience on the first night in Salisbury gave the show a standing ovation. So, I guess everything didn't go wrong for everyone.

Good Luck, Studio is at Salisbury Playhouse until November 5, then touring.

Photo Credit: Pamela Raith

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