It may be called The Play That Goes Wrong, but as Studio Tenn prepares to open this high-flying comedy, director and designer Matt Logan is focused on the long list of things that need to go exactly right.
Co-written by Henry Lewis, Jonathan Sayer and Henry Shields (of London’s Mischief Theatre Company), the story follows an amateur British theater troupe as it attempts to stage a 1920s whodunnit called The Murder at Haversham Manor. But things quickly unravel, as a slew of theatrical mishaps plagues the actors – from misplaced props to collapsing set pieces. The original show opened in London in 2012, and is still going strong on the West End. The Broadway production ran from 2017-19, earning a Tony Award for Best Scenic Design, and it continues to draw crowds off-Broadway at New World Stages.
“It’s a wild ride, for sure – and really quite daunting in terms of all the technical challenges,” says Logan, one of Studio Tenn’s original founders, who has worked as a designer on several recent productions. “In order for this show to work, everything has to run like clockwork. It’s not just about the artistry or the mechanics – it’s about safety.”
Of course, it’s also about big laughs and broad comedy. And Logan says he has found great inspiration in everything from rich jewel tones and Art Deco design to the comedy of Carol Burnett.
“I love comedies, but I don’t do a lot of them,” he says. “So I really had to find my way into this show and figure out where that inspiration would come from. Early on in my career and even back in college, I did a lot of Molière, and just loved it. Ludicrous comedy, sight gags, stock characters – it’s like the French sitcoms of the day. And, of course, I love the movie Clue – Tim Curry, Madeline Kahn, that whole inspector spoof. But my number one inspiration for this show has to be The Carol Burnett Show.
"I mean, we all loved it when things went wrong on that show, but nobody took it too seriously, and they weren’t overly indulgent about it. There was a balance to it all. That’s the fine line we walk with The Play That Goes Wrong. We can’t have everyone begging for the joke, or reaching for bigger and louder gags. There has to be some balance, and I think that’s where this cast is going to shine.”
Indeed, Logan has gathered a terrific mix of new and familiar talent, including Megan Murphy Chambers, Caleb Shore, Brian Michael Jones, Jennifer Whitcomb-Oliva, Nat McIntyre, Philip David Black, Garris Wimmer and Mitchell Ryan Miller.
“This is such great group,” Logan says. “And I can’t wait to see where they take some of these characters. This show is such goofy, silly fun. But I feel like it’s also a bit of a love letter to the theater — to this crazy profession that we’ve all chosen — and a reminder of the joy amidst the challenge.”
Much of that joy stems from Logan’s own creativity and unwavering commitment to excellence, says Jennifer Whitcomb-Oliva, who most recently worked with Logan and Rabbit Room Theatre in their gorgeous new production of A Christmas Carol.
“Any time you’re working with Matt, you know that everything will be of the highest quality,” she says. “Everything he does is so well thought out. His attention to detail is absolutely phenomenal. But this show is so unique, so clever. I love the comedy. I love the technical challenges, and I love that it’s pushing me a little outside the box of what I normally do. It’s sort of scary, but it’s also really exciting. And working with Matt and this incredible cast, I feel really at ease, knowing that we’re going on this great big journey together.”
Nashville stage veteran Garris Wimmer agrees, pointing to Logan’s collaborative approach as another positive.
“One of the things I love most about working with Matt is that he has this incredible vision,” Wimmer says. “There’s no question that he has the full picture in his head, but he also trusts the actors. He gives us room to make our own discoveries, so there’s a real sense of ownership. It’s fascinating to watch him work, and there’s something really magical about what happens in the rehearsal room with Matt. But it’s also just a lot of fun — especially with a show like this. One of my favorite sounds in the whole world is hearing people laugh like they’re 5-years-old. And in the case of The Play That Goes Wrong, I have a feeling we’re going to hear a lot of that kind of laughter on opening night.”