Seattle Public Theater’s latest offering, the world premiere of Joy McCullough’s ‘Stage of Fools,’ has proven to be a disappointing attempt at farce.
The play aims to deliver a whirlwind of chaotic humor reminiscent of classic door-slamming comedies, but instead, it feels more like unfocused chaos without the intended comedic effect.
Set in The Front Theater, an all-female theater group struggling to stay afloat due to budget cuts and dried-up NEA grants, the story revolves around the artistic director, Michelle, who faces a desperate situation.
In a surprising twist, Hollywood action star Jake Stone presents an outrageous offer to fund their production of Shakespeare’s ‘King Lear,’ with himself as the lead.
Initially, the proposal is met with reluctance by the female collective, who grapple with starring in a play by a white male playwright, but they see this as a chance to save their theater.
As the performance approaches, the already tense atmosphere escalates when an accident leaves Jake out of action, compelling the women to resort to drastic measures to ensure the show goes on.
Although the premise holds potential for comedic gold, the execution falls short.
The humor, often rooted in misogyny and the absurdity of the situation, quickly becomes repetitive, losing its impact as the jokes are overused throughout the production.
While there are moments of genuine laughter, the reliance on a limited number of comedic beats leads to a diminishing return on humor.
Furthermore, the dialogue feels unnatural and forced, which detracts from the authenticity of the performances.
Director Amy Poisson’s interpretation seems to reinforce this sense of force, as the humor is explicit rather than allowed to emerge organically from the situation.
The cast is comprised of talented individuals, including the likes of Kate Jaeger and Charles R. Leggett, yet their performances feel overacted and lacking the necessary spontaneity that a farce demands.
The technical aspects of the production also leave much to be desired.
Scenes filled with physical comedy come off as under-rehearsed, while the sound design fails to convey Jake’s lines clearly, leaving the audience straining to catch the dialogue meant to elicit laughter.
Additionally, props such as the radio-controlled rat struggle to function properly, further diminishing the quality of the production.
Ultimately, ‘Stage of Fools’ fails to capitalize on the classic elements of a farce, missing the mark on both humor and execution.
What could have been a lively exploration of a chaotic theater experience instead opts for a version of storytelling that feels underbaked.
With an ending that feels abrupt and unfulfilling, audiences are left with little more than a sense of disappointment.
In conclusion, Seattle Public Theater’s ‘Stage of Fools’ is rated as a lackluster MEH-, reflecting its struggle to deliver on the promise of controlled chaos that defines successful farcical theater.
In a landscape filled with well-executed comedic performances, this production falls short, highlighting the need for fine-tuning and a more measured approach to the art of farce.
image source from：broadwayworld
