A Funny Thing Happened on the Way to the Forum

By Burt Shevelove, Larry Gelbart, & Stephen Sondheim

Feb 20, 2024

A Funny Thing Happened on the Way to the Forum has some problematic elements, it’s true. However, someone pointed out to me recently that our lives might be better if we faced problems instead of burying them, so here I am pitching this silly show for a college season next week… we’ll see how it goes. Despite the issues, this show is really fun. It combines a lot of high-quality educational elements — Stephen Sondheim, Roman comedy (it’s combined from the works of Plautus), Vaudeville styles, and traditional musical theatre singing… there’s a lot of good stuff here! Plus, it’s a good old-fashioned farce that audiences love. It would be a shame to lose it entirely.

Theatrical release poster for the 1966 film

Forum is narrated and driven by a clever servant character named Pseudolus, whose master and mistress are headed off to visit her parents somewhere conveniently not at home. While they’re gone, Pseudolus discovers that their son, Hero, is in love with a courtesan who works at their neighborhood brothel but has, unfortunately been sold to a soldier who is coming for her soon. Hero promises Pseudolus his freedom if he can arrange things so Hero can have his bride, and general comedy ensues. There’s mistaken identity, slamming doors, a dirty old man, a shrewish wife, and more. Its roots are in Vaudeville and clowning — Buster Keaton is prominently featured in the movie.

The plot centers on the buying and selling of women’s bodies (not great), and is mostly centered on the male characters (also not great). Not to mention the fact that it works in the old man in a dress = humor trope (you guessed it… not great). However, it has solid, classical theatre reasons for these issues that casts, at least, can be informed about. It’s also not impossible for most of the main characters to be played by fem actors — most of the time, the servants’ gender is irrelevant, and changing keys for actors is pretty common. The two singing roles written for women in this piece are both for classical sopranos, and lower-voiced actresses could have a ton of fun with the servant roles. There is also an implied commentary on gender roles when fem-presenting actors play overtly masculine roles, which could help mediate the more sexist-feeling themes of the show.

While there aren’t a lot of scenes to work with, there are certainly lots of song options for folks looking for content. Both young lovers have great solo songs — “Lovely” for the women, and “Love, I Hear” for the gents, and the servant characters have several fun character songs like “I’m Calm” and “Pretty Little Picture” that rely more heavily on acting skills than on vocal prowess. It’s early Sondheim, so you can get the Sondheim feel with a slightly easier lift structurally.

Here’s some other helpful info:

Genre: Musical Comedy

First Production: 1962

Cast: 8 women, 7 men, 3 Any (maybe with some wiggle room)

Casting Opportunities and Challenges: Several characters are older. I’m thinking this is a good opportunity for some mask work. You also want to be very careful with casting actors of color in this since there are so many slave/servant/generally downtrodden characters here. Your best bet is a diverse cast in all areas, including the wealthier roles.

Ideal Performance Space: Proscenium

Technical Opportunities and Challenges: The set doesn’t change at all, but does include at least two levels and some functioning windows. There are lots of opportunities for fun goofy props.

Ideal Production Company: Educational, Community, and Regional Theatre. I wouldn’t cast high schoolers as courtesans personally, but you do you.

Passes the Bechdel Test: Not even close.

Themes: Roman Comedy, Plautus, Vaudeville, Dance, Stock Characters, Comedy, Farce, Clowning

Major Dramatic Question: Will Pseudolus be able to get Hero and Philia together and earn his freedom?

What were the writers trying to do? Were they successful?

These writers set out to adapt the works of Plautus in a Vaudeville style. It’s been incredibly popular for more than sixty years now, which I’d say is pretty successful, especially since the goal of both of those styles is entertainment. Plus, the opening songs sets you up for a silly show that just isn’t that deep. This is a very thoroughly researched, smart, silly show with a story that isn’t that deep.

Why this play now?

We’re in a moment where escapism is king. We’re all low-key dealing with social PTSD after covid and the cultural separation that it brought with it, and this show is, at its core, about actors having fun together. Some clowning and dancing might be just what we need right now.

The Play of the Week

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