Queen’s Players deliver humour-filled night

Players sold out six shows

Queen’s comedy group performs in-person for the first time in two years.
The Queen’s Players cast, crew, and band gave a crowd of energetic students and alumni a night of laughter, live music, sketch comedy, and—of course—alcohol.
The Players returned to The Mansion to perform “A Car is Bourne III: No TAM to Die-ry of a Goopy Kid!” on Nov. 17-20 and 23-24.
Their show was in high demand. Overwhelming interest caused The Mansion’s website to crash when tickets went up for sale, with all six shows selling out in just a few hours.
The show featured a variety of funny performances and raunchy jokes delivered by a cast of 12 Queen’s students who formed the eclectic “task force” of characters selected to steal a TAM—one of many integrations of Queen’s lingo into the production.
Each cast member was assigned the role of a well-known fictional character or pop culture icon, forming an unlikely group of hilarious personas whosomehow complimented each other in strange yet seamless ways.
The show had plenty of pop culture references, from Gwyneth Paltrow’s infamous ‘Goop’ products, to James Corden’s career flops of Carpool Karaoke and Cats, and Fairy Godmother’s unhealthy relationship with her son in Shrek 2.
Cindy Co’s Frosh character delivered many relatable references to Queen’s culture that made the audience laugh and cringe, including the supposed rancid smell of Morris Hall and the awkwardly scripted self-introductions of O-Week. 
The Kingston community also received several roasts, with references made toward the police horses at homecoming and the huge eyesore that is the Burger King sign on Princess Street.  
The cast and crew also couldn’t escape the jokes—many participated in a rap battle that playfully made fun of their fellow Players. 
On the musical side, cast members performed their own monologues and solo covers ranging from “Like a Prayer” by Madonna to “Kiss Me More” by Doja Cat.
As with all Queen’s Players shows, the focus was on comedy and drinking more than the storyline—made obvious by the clearly drunk cast, crew, and band. Spectators enjoyed this lively atmosphere. Many were eager to dance and sing along with the cast. 
The performance carried on the traditions of audience interaction.
Spectators yelled “seamless” whenever a performer messed up or technical difficulties occurred. Queen’s Players novices were also taught the importance of yelling “sing” when a song title was mentioned, and the meaning of “tarps off”—a cue for the cast to take off their shirts. 
The audience was happy to attend such a spirited event, which gave the Players an enthusiastic, supportive crowd to entertain.

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