The Comedy of Errors

Most of we drama lovers are so in awe of William Shakespeare that we tend to forget that not every play is a masterpiece. Indeed, some of them are downright clunky, full of plot holes, awful exposition and are as subtle as an episode of “Mrs Brown’s Boys”.  The Comedy of Errors is one such play, written early in Will’s career as a crowdpleaser for the masses. The plot may have been new 500 years ago, but now the story of mistaken identity and separated twins, of coincidence and convenience, is just overworked. Long before academics broke down comedy into categories and labelled it, Shakespeare just threw everything bar the kitchen sink (presumably he didn’t have one) at a play – whether appropriate or not – in his entertainment for the masses approach to make the audience laugh.

One of the things I love about Bell Shakespeare is that, despite their reverence and respect for the Bard, they aren’t ever overawed or intimidated by reputation or text. The company is a master of innovation and invention and treat much of the work with affectionate irreverence, constantly questioning and seeking originality in interpretation. There is no way to make this play sing as poetry, or educate as farce, slapstick, absurd or any other sub-genre of comedy. It’s a mishmash of styles and so the only sane thing to do is go for broke and make it bloody funny….and bawdy. We tend to forget that he was a “Bawdy Bard”.

Savage is a canny director; she sets the play in Ephesus - a city spawned by  King’s Cross out of Gold Coast lineage. It’s a place of discos, sex clubs, money exchanges and government offices – often indistinguishable. Her characters, apart from Antipholus (the lost twin from Syracuse with a semblance of refinement) and Egeon, (the cultured father who is given just one day to find his lost sons before execution) are bogans, fashionistas, posers, hoods and hoons. In short – your average city dweller.

Savage’s direction treats them all fondly, but gives them no quarter. Elena Carapetis (Adriana) struts around in leopard print platform stilettos with a bustier to match. She’s so common she might have escaped from a gypsy reality show, or is at least a lost Kardashian. She’s also hysterically funny and quite endearing in an aggressive way, especially when she’s constantly ready to race off her husband or anyone who looks like him. Jude Henshall (Luciana) is the Paris Hilton of Posers. Hers is an exquisite performance, especially her comedy business sitting on a washing machine while its on spin cycle. (Don’t ask…you really have to see it.)

Nathan O’Keefe and Septimus Caton are exceptional as the twin brothers Antipholus. Both are totally credible and have exquisite comic timing. They also have charm and audience appeal, O’Keefe especially, and great futures as leading men. But beyond that, they are very fine actors. Renato Musolino and Hazem Shammas make a slapstick feast of their roles as Dromio (twin servants to the lost twin sons). This is physical comedy of the highest order and special mention must go to physical comedy consultant Scott Witt. Renato Musolino has wonderfully subtle expressions to counter his physicality. The rest of the cast give beautifully measured performances, especially Eugene Gilfedder. It’s a great help that Savage has cast actors who aren’t immediately known to us, and most of whom have a Mediterranean aspect to them.

The set by Pip Runciman is stunning….basically it’s a solid scrim of glass doors with changeable LED captions. It’s modern and recognisable to all of us, as are the props; a sunbed, table tennis tables (the business with ping pong balls must be seen to be believed) and whitegoods. It’s delicious, and as important to the comedy as Savage’s wonderful direction. This may be as close as we can come to imagining the impact of the original production on an unprepared and unsuspecting audience. It’s contemporary, irreverent, cutting edge comedy; a must see production that will leave you weak with laughter.

Coral Drouyn

Photographer: Matt Netheimm.