The Play That Goes Wrong is definitely “good, tasty, well-done and like-a-warm-bath”. It definitely is not “awful, icky, queasy or moist” (early disclaimer: all adjectives above courtesy of the producers’ hilariously placed Playbill ad listing “WORDS TO USE” and “WORDS NOT TO USE”.) Now that we’ve used (and kind of not used) all of the relevant, pre-approved phrases, on to the play’s premise: The Murder at Haversham Manor – the-play-within-this-play-gone-wrong – is produced by the fictional (and incompetent) Cornley University Drama Society, lead by the equally fictional (and terrible) cast and crew of eight, and just happens to be one of the most disastrous productions ever presented on stage. Knocked out socialites, nearly demised actors, multiple malfunctioning stage props and a crashing chandelier are just a few of the setbacks plaguing this production – all of which serendipitously come together to create one deliciously blundering Whodunit à la Agatha Christie and Sir Arthur Conan Doyle, albeit in classic farcical style reminiscent of a Marx Brothers flick. If extreme slapstick, nonstop action and a perfectly orchestrated blitz of absurdities delivered via several very British accents in rapidly increasing states of emotional turmoil are your cup of tea, this import from London’s West End has you sorted. Audiences at Hell’s Kitchen’s New World Stages complex have a roaring time as they savor The Play That Goes Wrong – a consummate example of an under-appreciated genre.

The entire troupe is abundantly convincing as they metaphorically hurtle down a dark tunnel at 100 mph towards their collective artistic implosion. Special feats of physical humor and some gratifying leaning on the fourth wall are supplied by Jesse Aaronson, who’s exceptionally cheeky as Max Bennet playing Cecil Haversham; Bartley Booz’s Dennis is lovingly repressed as Perkins the butler; and Ashley Hildreth as Annie the stage manager is straight faced and spot-on. Tony Award winner Nigel Hook’s set is intricately designed and some of the falling, flailing and failing props and pieces of furniture require split-second precision to achieve their comic – and death-defying – effect, while Matt DiCarlo’s direction keeps the action propelling forward at breakneck speed without ever becoming labored or feeling contrived. Best of all, the script isn’t one dimensional: clever dialogue and a kindhearted treatment of the characters plight succeed in getting spectators bought in – an emotional connection that serves to enrich the madcap barrage of pratfalls and spit-takes, resulting in a chuckle fest from curtains-up to final meltdown accompanied by feel-good vibes all around.

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