Queen’s Players masterfully combine art and chaos in spring show

On a Thursday night at Ale Canteen, Steve Harvey hit on Sydney Sweeney, The Sound of Music’s Maria von Trapp came out as queer, and Dr. Seuss’s Cat in the Hat faced an identity crisis.

(QP)’s latest production, “Von Trapped at the Litterboxxd Inn,” combined scripted comedy, live music, and rapid character work into a tightly-rehearsed, but intentionally chaotic, show. Though their opening night, March 18, wasn’t sold out, the small crowd created an intimate atmosphere that made the space feel fuller during the performance.

Adding another layer to the challenge, the troupe was performing at a new venue this year.

“For 17 years, the show was at The Mansion. We found out two days before our first run that we were doing it at the Grad Club and then opening night [ended up being] at Ale Canteen,” said Director Halli Hood, ArtSci ’26, in an interview with The Journal. The move required adjusting the blocking and sound, adding a layer of challenge to the already complex performance. Despite the changes, Hood said the space ultimately worked well, offering room for the audience to interact while keeping the performers’ energy front and centre.

That upbeat energy began with the casting process. Each QP cast includes six rookies and six returning members, selected as much for their willingness to experiment as for their technical ability. The mix is deliberate: new performers are pushed to take risks, while veterans help maintain the rhythm of a show that moves faster than the eye can follow.

“What we’re honestly always looking for [in potential cast members] is: are you ready to commit to the bit?” shared Hood. “It doesn’t have to be good; it’s just about being willing to try and having the right ‘vibes.’” That philosophy drives every decision in casting and rehearsal, encouraging performers to embrace improvisation and mistakes as part of the show’s charm.

Once on stage, the production’s structure kept the chaos moving.

Built around a “cottage” setting, the production unfolded as what Hood described as a “wormhole of rooms,” allowing characters to move fluidly between scenes. Figures who would never typically share a stage—Dr. Evil, Justin Bieber, and Maria von Trapp, among them, interact through a narrative where coherence is secondary to maintaining a comedic flow.

Band member Aidan Dearlove, Sci ’26, emphasized that the show’s energy doesn’t rely on perfection. “The idea isn’t to play it perfectly. It’s about how you handle a mistake—laugh it off or keep going,” he said in an interview with The Journal.

Personality and presence, Dearlove added, are as important as technical skill because the band’s role is to amplify the performers and keep the pace alive.

Despite a small crowd filling about a dozen seats with some standing, the energy and excitement never went away. Even with the intimate setting, the cast’s playful chaos and rapid pacing kept the show lively, proving that the excitement of Players comes from the performance itself rather than any strict narrative.

Throughout the show, one thing is clear: if you’re watching Players for the plot, you’re missing the real fun of the show.