The Comedy of Errors, Shakespeare’s Globe Review
Daniel Adeosun as Antipholus of Syracuse and Phoebe Naughton as Courtesan in The Comedy of Errors at Shakespeare's Globe. Photo by Marc Brenner
Written by Sarah for Theatre and Tonic.
Disclaimer: Gifted tickets in return for an honest review. All opinions are our own.
The Globes’ 2023 production of The Comedy of Errors capers into the current season, with chutzpah and heart. A classic tale of mistaken identity, lost loves, and family bonds that climaxes in a symphony of slapstick and cataclysmic confusion.
Shakespeare employs a familiar trope in this play; a storm separates two sets of twins and their parents following a shipwreck. We join the story when Antipholus of Syracuse and his servant, Dromio, go to Ephesus in search of their respective twins (also called Antipholus and Dromio) with their father who has previously been condemned to death whilst still mourning the loss of his wife. Confused? No one is more confounded than the citizens of Epheus where these mixed up identities result in accusations of adultery, witchcraft, theft, beatings, arrests and general carnage. As one of Shakspeares earlier plays, it is arguably less refined but no less enjoyable: a rollercoaster ride of hilarity it is impossible to get off.
Sean Holmes and Naeem Hayat’s direction offers frenetic comedy with some rare and welcome moments of tenderness, infused with reflections on identity, grief, and belonging. The confident staging is gimmick free, celebrating the art of storytelling and the craft of theatre. Although the arrival of a boat through the pit creates a wave of excitement as the audience are further welcomed into the world of the play.
The simplicity of the production allows the actors to prove their mastery of classical text as they inhabit the language to serve the story and embody the characters, with finesse. Delightfully satisfying asides, arched eyebrows, character quirks and brilliantly timed gags all bring a joyous theatricality. As do the actors winks and nods to the aircraft and other extraneous noises that often invite themselves into live outdoor events.
Daniel Adeosuns’ Antipholus of Syracuse charismatic energy embraces the entire auditorium and draws you in. Celeb Roberts as Antipholus of Ephesus is bemused but more strident amidst the confusion. The Dromio twins played by Sam Swan and Martin Quin both deliver their quips and quirks with charm and immaculate timing. Even with knowledge of the plot, one must be forgiven for confusing these characters and actors, such are the similarities between them. As Dromio of Ephesus says on meeting his twin “ I think you are my glass, and not my brother”. As an audience member, there is an unease of knowing they are not the same person but not quite being able to put ones finger on it. Even with prior knowledge of the plot, when the characters finally meet, there are gasps and cheers at the revelation of suddenly seeing double.
The women in this production are no less brilliant, as often can be the way in patriarchal writing of the time. Gabrielle Brooks plays Ephesus’ wife Adriana, and Shalisha James-Davis as her sister, maximise the opportunities offered by the text, infusing it with a rich comedic life. Anita Reynolds as the Abbess brings both rambunctious humour and heart warming tenderness to the role. The final moments between the Abess and Egeon provide a much welcomed stillness and initiate the affection between characters that arises from reuniting with long lost loved ones.
Egeon, played by Paul Rider offers a strength and stillness that is rare in this production, that allows the audience to keep pace and fully savour the richness of the language and nuances of deeper meaning. Christopher Logan as Angelo provides excellent contrast and is delightfully camp: cocky yet vulnerable. Phoebe Naughton and Danielle Phillips are equally brilliant, delivering thoroughly rounded and charming performances.
The Elizabethan costumes are deliberate and enhance details of characters rather than distract. The musicians' outfits are a particularly attractive colour combination which is distinct yet unimposing. The music and dance are skillfully executed and both provide atmosphere, and generate a feeling of celebration so the audience can share in the simple joy of both.
This rambunctious tale unfolds over a comfortable 1 hr 40 with no interval, much welcomed by many modern audience members whose attention spans have been depleted by frenetic media consumption. The production whips along with a feeling that the wheels are about to come off but never quite do because the actors master the complexities of the plot and farce that instils confidence and allows us to come along for the ride.
Experiencing a play at The Globe is magical and should be on everyone’s bucket list!
The Comedy of Errors runs until 27 October.
★ ★ ★ ★
