It has been over a decade since London audiences first met the hapless Cornley Drama Society, whose catastrophic attempts at theatre have become the hallmark of Mischief’s award-winning brand. From The Play That Goes Wrong to Peter Pan Goes Wrong, the formula of earnest amateurs colliding with theatrical disaster has proved irresistible. Now, with Christmas Carol Goes Wrong, Mischief returns to the West End for a festive season of chaos at the Apollo Theatre.
This latest instalment offers something new. Rather than limiting the mayhem to the performance itself, the show bookends Dickens’ classic with glimpses of Cornley’s inner workings. We see rehearsal rooms, production meetings and casting squabbles, giving the audience a fuller picture of the personalities behind the pandemonium. These behind-the-scenes sequences are a clever expansion of the universe, allowing characters like Annie (Nancy Zamit at this performance) and Trevor (Chris Leask) to step into the spotlight with bigger roles and richer comic beats.
When the curtain rises at Cornley Playhouse on A Christmas Carol, the crew are determined to deliver an authentic version of Dickens’ tale. Of course, their ambitions are doomed. A set that refuses to cooperate, an oversized Tiny Tim and actors vying for top billing create a carefully choreographed catastrophe. The humour lies in the sincerity of their efforts: the more they strive for gravitas, the funnier the implosion becomes. Mischief’s writing trio, Henry Lewis, Jonathan Sayer and Henry Shields, know this territory well, and their script brims with inventive gags and sly nods to other adaptations, including a cheeky wink to the Old Vic’s celebrated production.
The cast is a joy to watch. Matt Cavendish brings his trademark charm to Max, whose ego is as fragile as the scenery. Daniel Fraser’s Chris remains stoic in the face of calamity, while Sasha Frost as Sandra injects a dose of diva energy into proceedings. Greg Tannahill’s Jonathan and Henry Lewis as Robert deliver physical comedy with precision, and Jonathan Sayer’s Dennis continues to be the lovable liability audiences adore. Together with Nancy Zamit and Chris Leask, this ensemble proves why Mischief’s work thrives on chemistry and timing.
Fans of the franchise will relish the return of familiar Cornley characters, most played by the original cast, and it is fascinating to see how they have evolved over the past decade. Yet newcomers need not worry: the show works perfectly as a standalone, its premise clear and its comic rhythms accessible. Director Matt DiCarlo keeps the pace brisk, though a handful of jokes outstay their welcome. When a gag runs long, the energy dips slightly, but the ensemble’s commitment soon restores momentum.
Visually, the production impresses. The set design is ambitious enough to enable spectacular mishaps without feeling contrived, and the costumes strike a balance between Victorian authenticity and Cornley’s endearing amateurism.
While the expanded backstage framing adds freshness, the core conceit – things going wrong in increasingly elaborate ways – offers few surprises for seasoned fans. That said, the execution remains superb. The timing is razor-sharp, the physical comedy immaculate, and the cast’s chemistry undeniable.
London is presently packed with earnest renditions of Dickens, Christmas Carol Goes Wrong is a welcome antidote. It honours the spirit of the original while gleefully dismantling it, delivering laughter in abundance. For those seeking festive cheer without sentimentality, Cornley’s latest disaster is the Christmas Carol to see.
Listings and ticket information can be found here.
