Metropolis’ ‘The Play That Goes Wrong’ a riotous revival

“The Play That Goes Wrong” — 3.5 stars

Near-constant laughter rippled through the Metropolis Performing Arts Centre during Saturday’s opening of “The Play That Goes Wrong,” confirming the company’s decision to extend the British farce — which the theater made before the production officially opened — was the right one.

Metropolis’ rip-roaring revival, under director Johanna McKenzie Miller, is a hit.

Chock-full of pratfalls, technical mishaps and copious spit takes, “The Play That Goes Wrong” — by Henry Lewis, Jonathan Sayer and Henry Shields — is rooted in the time-honored tradition that the show must go on no matter what, even when things go spectacularly wrong.

Plenty goes wrong in this riotous 2012 play-within-a-play, a spiritual successor (of sorts) to Michael Frayn’s classic backstage farce “Noises Off.” Props get misplaced. Dialogue is botched. Technical cues go awry and a fight scene spirals out of control.

And that’s just the first act.

The action unfolds on opening night of the fictitious Cornley Drama Society’s production of the fictional “The Murder at Haversham Manor,” a creaky whodunit in the style of Agatha Christie and Arthur Conan Doyle, penned by invented playwright Susie H.K. Brideswell.

Hints of the impending pandemonium occur well before the curtain rises. Backstage hammering and frantic attempts to repair a faulty fireplace mantle suggest a rickety set (a fine effort by designer Angela Weber Miller) constructed on a shoestring budget.

Chris Bean (Ryan Armstrong), whose many Cornley Drama Society functions include the play-within’s director, actor, dramaturg, set/prop designer and others, confirms as much in his curtain speech.

Armstrong’s Bean also plays the police inspector investigating the murder of the estate’s wealthy owner Charles (Eric Amundson), who was recently engaged to Florence (Teah Kiang Mirabelli). A young woman prone to over-the-top outbursts, Florence is the sister of Charles’ best friend Thomas (Casey Ross), a tweedy sort who favors argyle socks and knee breeches.

Ryan Michael Hamman is hilarious as the ham-fisted actor playing Cecil, Charles’ dandyish younger brother. Rounding out Metropolis’ ensemble is David Blakeman as the fumbling, memory-impaired actor playing the butler Perkins, who gets stuck in a dialogue loop to the chagrin of his fellow actors and the unabashed glee of Annie (the deliciously deadpan Natalie Henry). Annie is the long-suffering Cornley stage manager, who takes over the role of Florence after the leading lady gets knocked unconscious. Richaun Stewart plays Trevor, the light and sound operator, whose missing Duran Duran CD turns up at a most inopportune time.

To reveal more would spoil the fun of this deftly executed production, whose escalating chaos — which Miller expertly orchestrates — is complemented by Alexa Wiljanen’s lighting and Sarah Ramos’ sound design. The comedy is top-notch, with well-timed slapstick and sight gags that last as long as they need to and no longer.

That said, the play itself gets a bit repetitive and could use some tightening. But Miller earns kudos, and so does her talented ensemble: funny, physical actors who — like their Cornley Drama Society counterparts — embody that old adage: keep calm and carry on.

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Location: Metropolis Performing Arts Centre, 111 W. Campbell St., Arlington Heights, (847) 577-2121, metropolisarts.com

Showtimes: 7:30 p.m. Thursday and Friday; 2 and 7:30 p.m. Saturday; and 2 p.m. Sunday through March 29

Running time: About 2 hours, 10 minutes, with intermission

Tickets: $25-$49

Parking: Nearby garage and street parking

Rating: For teens and older