Review: The Comedy of Errors (Shakespeare's Globe)

Review by Sophie Wilby

⭐⭐⭐⭐⭐

After a well-received season last year, Sean Holmes’ celebrated production of The Comedy of Errors returns to The Globe To close out the summer whilst bringing in some much-needed cheer for the impending Autumn, Would the response be as hysterical this time around?

Considered by some to be the forerunner to the perhaps better-known Twelfth Night (at least by me, thank you She’s The Man), The Comedy of Errors is a comedy based on what would otherwise be considered to be quite a tragic incident. Twin brothers both named Antipholus (which seems like bad parenting) are separated from each other in a devastating shipwreck. Only one remains with their father, Egeon, who both settled in Syracuse. The other, separated from them and (as we later learn) his mother, is brought to Ephesus. The play begins with Egeon attempting to reunite his family many years later.  

Unfortunately, his search for them leads to him facing execution in Ephesus until the Duke hears his tale and grants him one day of leniency to find the fee to pay for his freedom. In a bizarre and convenient twist of fate, a second pair of twins who share the name Dromio are also separated in the same shipwreck and both grow up to become the servant of their respected Antipholus. As Antipholous of Syracuse is joining his father in Ephesus, chaos commences as each twin - and their twin servants - are repeatedly mistaken for one another, culminating in a series of hilarious misunderstandings that are eventually solved when the twins are all brought together. 

Written out like that, it seems far too silly and convenient a plot to be enjoyable, however, once you suspend your disbelief (I mean really, who gives twins the same name), it is an enjoyable hour and forty-minute long shaggy dog story that will leave you in stitches.

Much of this can be attributed to Sean Holmes’ direction. There is such a fine line between hamming up Shakespeare to the perfect almost-pantomime pitch of silliness and completely overdoing it to the point of absurdity. Only in one or two brief instances was this line crossed; one such moment being a slapstick fight at the opening of the show featuring most of the cast which, though humorous, appeared to come from nowhere and lead to nothing. But for the most part, the production is a masterclass in honing in on Shakespeare’s comedic writing. The lack of interval allows for the silliness to ramp up to a fever pitch before the final reveal, as each scene builds upon the humour of the other, continuing to grow in hilarity before a heartwarming ending. 

So too can the performances by the entire cast be celebrated as each embraces the comedic challenge with great skill. Daniel Adeosun’s Antipholus of Syracuse adds an almost cheeky air to the role in the moments where he is not wide-eyed in utter confusion as the events unfold. Caleb Robert’s portrayal of Antipholus of Ephesus is more stern, reflective of the power and rank he holds within the town. Both however execute the humour of their characters with perfection. Their servants, Dromio of Syracuse (Martin Quinn) and Dromio of Ephesus (Sam Swann) are more similar in disposition as witty, long-suffering servants who are subjected to repeated beatings throughout, though Sam Swann’s Dromio radiates a more positive, warm energy compared to his brother as Martin Quinn deservedly laments his poor treatment with a more downcast air. 

It is difficult to rank who achieves the greatest laughs as each member of the company delivers wonderful comedic timing. Martin Quinn’s description of the kitchen maid Nell, betrothed to his twin brother, is perhaps a highlight but it is far from the only one. As the goldsmith, Christopher Logan is possibly a stand-out, with his delightful indignation at what he assumes to be a bald-faced lie from Antipholus of Ephesus. Shalisha James-Davis too, makes the most of a relatively limited part with her cheeky facial expressions and expert use of a fan. 

Though Ephesus is a Greek city, the stage is set as a dock that might be in any port town - decked out with shipping container backings, rope ladders, and a jetty by which several members of the company enter on a boat parting the crowd. A mast too, dramatically juts out from the lower gallery strengthening the connection to the shipwreck that caused the unfolding chaos. With a cast draped in classical, Elizabethan dress with no shortage of codpieces (designer Paul Willis), it may not feel quite like a Grecian port town but that in no way detracts from the performance itself. 

The musical accompaniment, though relatively sparse, embraces the humour of the piece too. Suggestive ethereal music plays as the company suggests that something mystical might be at play. Sound effects are delivered with impeccable timing too, supporting the chaos happening below on the stage. 

There is a question posed by Antipholus of Syracuse which may be familiar to theatregoers - “Am I in Earth, in Heaven, or in Hell”? I am sure that many theatregoers will have had a trip to the theatre that they can liken to each. In this instance, this production of The Comedy of Errors is a heavenly experience. It is not Shakespeare’s cleverest piece of writing, but when taken on the surface for the playful farce that it is then it is still an enjoyable one. 

The Comedy Of Errors plays at Shakespeare's Globe until 27th October. Tickets from www.shakespearesglobe.com

Photos by Marc Brenner