Review: A FUNNY THING HAPPENED ON THE WAY TO THE FORUM at The Art Factory

This Tony Award-winning 1962 musical is based on the farcical works of Plautus. A Funny Thing Happened On The Way To The Forum transports us to a small corner of ancient Rome, where neighbors Marcus Lycus, Erronius, and Senex live in three adjacent houses. Pseudolus, a slave belonging to Senex’s son Hero, yearns to be a free man and will stop at nothing to achieve it. When Hero confesses his love for the beautiful courtesan Philia—whom he sees in the window of the House of Lycus—Pseudolus promises to help him win her affection, in exchange for his freedom.

With music and lyrics by Stephen Sondheim and a book by Burt Shevelove and Larry Gelbart, Forum displays many classic elements of farce: puns, mistaken identities (often involving disguise), and satirical takes on social class and sexuality. The production itself is largely focused on gender roles and sexism, which could have been misconstrued if not for the high camp and reliance on farce. After all, we were promised a comedy in the opening number.

This was also my first visit to The Art Factory, now in its ninth season, and I have to applaud the heart and energy they poured into this production. With a cast of fifteen, it's an impressive feat. I appreciated the use of a recorded instrumental score, which ran smoothly throughout. The theater space itself is surprisingly large and seats more than I expected.

In a bold and intriguing choice, the production features an all-female cast. I wish the program or website had offered some insight into this decision—it enhanced the show’s campy sensibility and added an extra layer of entertainment. I'd just like to know the director’s rationale. Character names and pronouns were not changed, lending the show a Shakespearean air, reminiscent of the days when all roles were played by men. It is also refreshing to watch an all-female cast make baudy jokes and physical sight gags in reference to male genitalia.

The production is anchored by standout Laura H.R. Newman as Pseudolus, who serves as both narrator and lead. She’s consistently funny, vocally strong, and shines in her fourth-wall-breaking improv moments. Victoria Ritchie delivers a hilariously unhinged Philia, the courtesan loved by Hero (Katy McCantz). The two lovers work well together, fully embodying their archetypes. Hysterium (Elizabeth Chrisman Shurtz), the chief slave of the House of Senex, deserves praise for her physical comedy (and vocals in the reprise of “Lovely").

Tropes and character types—hallmarks of both farce and classical Greek theatre—are on full display and well-executed by the rest of the cast. Senex (Stephanie Welder) and Domina (Caryn Fulda), Hero’s perpetually squabbling parents, playing wonderfully off each other’s weaknesses, Marcus Lycus (Christine Mompoint) is a delightfully sibilant brothel owner: cowardly, yet oddly endearing. Miles Gloriosus, played by the vocally commanding Sarah Beth Sims, is the boisterous captain who comes to claim Philia. And Beckie Cohen as the doddering old Erronius gets a surprise in the end.

A group of five Proteans round out the ensemble, playing a range of roles—guards, soldiers, citizens, eunuchs. Their madcap energy is entertaining, but a bit more cohesion in their timing would have given their scenes stronger impact. A few moments, both among the Proteans and in some lead performances, veer into shrill territory and could benefit from adjusted mic levels. Some of the longer comedic bits could also be tightened to maintain pacing and keep the humor crisp.

All in all however, the comedy was there, laughs were had, and in the end, who doesn’t love a happy ending?