Behind the Chaos: Joe Kosky on THE PLAY THAT GOES WRONG

With its perfectly timed mishaps, physical comedy, and relentless energy, The Play That Goes Wrong has become a modern stage favourite, captivating audiences with its blend of slapstick, theatrical tradition, and pure comedic chaos.

Written by the award-winning Mischief Theatre Company, the play follows the Cornley Polytechnic Drama Society as they attempt to stage a 1920s murder mystery. What begins as a simple production quickly descends into a cascade of disasters: collapsing sets, forgotten lines, runaway props, and ever-escalating comedic mayhem. Each mishap is meticulously choreographed to keep audiences laughing from start to finish, creating a uniquely immersive theatre experience where the humour lies as much in the “going wrong” as in the story itself.

Currently touring Australia, the production has thrilled audiences nationwide, showcasing Mischief Theatre’s signature chaos and infectious energy. Taking on the role of Robert is the multi-talented Joe Kosky.

A seasoned performer with a versatile range, Kosky has lit up stages in productions such as Shrek the Musical, Come From Away, and School of Rock. In this role, he brings both precision and playful chaos to Robert, whose portrayal of Thomas Colleymoore becomes increasingly entangled in one disastrous blunder after another.

How would you describe The Play That Goes Wrong to someone who’s never heard of it before?

Joe: Ultimately – an amateur drama society gives their all to stage a classic murder mystery. Fast-paced, side-splitting, and undeniably relatable, it’s the pinnacle of the sentiment ‘the show must go on’ — and on it goes, no matter what!

What drew you to this production?

Joe: I saw the show the last time it was in Aus ~9 years ago. I’ve never laughed so hard in a theatre. There’s no high-brow message or nuanced mise-en-scène, it’s just a slapstick sitcom at its absolute best. I honestly never imagined myself in the show at the time, but when the opportunity rolled around I jumped at it. Mind you, I auditioned for a different role as I thought Robert looked a bit too hard for an old, worn-out body like mine but alas—here we are.

Are there particular comic influences or styles you’ve drawn from in your performance?

Joe: I’ve always admired actors who can justify the most outrageous of choices: Robin Williams, Nathan Lane, Jim Carrey, Chris Farley to name a few, but they’re all pretty far from the archetype of Robert. We all know a Robert, though—the guy who “would’ve ‘made it’ if it wasn’t for [add excuse here]”. He takes himself and his ‘craft’ extremely seriously, but usually that means maximum bravado rather than humanity in his efforts. As the play starts to unravel, so does Robert, which is interestingly what reveals quite a relatable side for the audience to cheer for, rather than the profundity of his ‘acting’.

The play looks chaotic, but it’s incredibly choreographed. Can you talk us through the rehearsal process for building that “planned disaster”?

Joe: Rehearsals involved a lot of improvisation. First discovering our characters in the world of the Cornley Drama Society, before developing their characters in “The Murder at Haversham Manor”. We learned the piece as it would be with zero mistakes, so every night we know exactly what should be happening. This means that every time we encounter a hurdle, we know the North Star to attempt to aim for, rather than giving up and calling it a day.

How does the audience’s reaction influence your performance each night?

Joe: Look, most of the time our job as actors is to tell the story, without pandering to the audience or playing for laughs. With this show, however, the audience can sometimes get so involved that they become somewhat of a 9th character in our play. It’s almost a fun tug-of-war at points between the audience encouraging the chaos, and us trying to execute our perceived masterpiece with whatever integrity we have left.

Do you find the comedy funnier when it’s technically perfect or when something actually does go a bit wrong on stage?

Joe: Both are genuinely enjoyable. In either case we’re simply tasked with problem-solving, and there are endless ways to come to each solution. The more we focus on the reality of those problems and solving them as they arise, the funnier the situational comedy becomes. It’s always nice to debrief after each show, as something different has always arisen that we’ve bookmarked to laugh about later.

Are there little details or jokes in the set and props that audiences might not notice at first glance?

Other than the intricate mechanics of the Tony Award-winning masterpiece we get to play on each night, there are quite a few details to feast on. Without giving away any of the gags, one delightful detail is the time shown on our grandfather clock. Chris, ‘the Inspector’ – attempts to reference the time on multiple occasions during the show and it’s never quite as his lines dictate. It results in these great little throw-away gags you mightn’t even notice as a hyperventilating member of the audience.

Can you describe The Play That Goes Wrong in three words?

Joe: Dangerously hilarious chaos.

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The Play That Goes Wrong is playing now at Melbourne’s Athenaeum Theatre.

For tickets and more information, visit playgoeswrong.com

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Header image by Jordan Munns