Review of ‘The Comedy of Errors’: “Make no mistake by missing it”

The Bard’s popular comedy returns to The Globe through the revival of its latest production, currently playing at its open-air theatre until the end of October. Guillermo Nazara shares his views on the show, to let us know if this showcase of wrongs manages to get anything right.

I don’t care for Shakespeare’s comedies. Yes, I’ve said that. Luckily, it was a while ago when I made that statement. But in a most delightfully dramatic kind of way, that observation (which, actually, I gave when attending The Globe’s last year’s run of the very same play) has come back to haunt me like the ghost of Hamlet’s father (I’m just trying to pretend that I’m high-brow – spare me your comments…).

Yes, a lot has happened indeed over the course of a year. A lot of stuff. Dark, decadent, embarrassing… You’ve clearly given me a lot of entertainment. However, none of it could be as excruciatingly ridiculous as the story of two identical twins separated at birth, whose unexpected (and for a great deal of the plot, unbeknownst) reunion serves as the crucible for an series of interlinked misfortunes and misunderstandings – each one stupider than the last; but all of them incredibly amusing.

Directed by Sean Holmes in tandem with Naeem Hayat, his latest endeavour on the Globe’s stage sets up a rather tall tower of expectations. Fortunately for him (and also for us, as audiences), all of them are effortlessly met – and occasionally, even surpassed. The show is, by all means, a non-stopping wheel of fun. Beautifully put together through traditional, period-based staging, its visual prowess acts as an enclosing time machine – effectively making us feel as if dropped into the Bard’s era, but nonetheless reminding us of his ageless ability to still resonate with contemporary viewers, thanks to a script as entertaining and absurd as it’s engaging and memorable.

Despite its beginning feeling slightly cluttered with excessive excerpts of slapstick (whose mildly gender-bias approach does not contribute to its improvement), the play takes off from a very early point – continuing to increase its speed almost as fast as the mad awkwardness that so vividly takes control over the characters’ lives, and gets out of it at a even more exhilarating pace!

A subject of discussion regarding the Bard’s standards, the doubts as for the material’s quality are somehow dissipated through the montage’s solidity – prompting a much kinder impression regardless of any preconceptions on the material. Such an accomplishment is impeccably carried out, primarily, by its extraordinary company. With almost every member flaunting superb comedic skills, their timing and delivery is, in all honesty, the closest thing to a masterclass on classic humour – not only understanding the undertone of every line, but also concocting additional layers with incredible ease and naturalness.

Among them, the first mention is fairly earned by Gabrielle Brooks in the role of Ariana, giving an infectiously energetic portrayal that evenly combines charm with the personage’s inherent playfulness. In addition, Pheobe Naughton makes a memorable appearance through her over-the-top, but historically-accurate-feeling rendition of the First Merchant, while Christopher Logan boasts absolute comedic expertise through his calm-looking yet remarkably hilarious interpretation of Angelo. Yet, the biggest praise goes to both Martin Quinn and Sam Swann as Dromio of Syracuse and Ephesus, respectively – playing their parts with striking flow and dexterity, and constantly regaling audiences with the most uproarious moments through their deftness to make Shakespeare’s words soar with laughter.

A most lively ride where every bump will come as a blessing, The Comedy of Errors shows no bloopers or blemishes except from the ones it so adroitly plans ahead. Without ever losing momentum once its journey is stabilized, both piece and montage work in perfect harmony to convey an unmistakable (no pun intended) triumph from an artistic and entertaining perspective alike. It aims for silliness – but in reality, not coming to see it is the only type you shouldn’t go for.

All pictures credit to Marc Brenner.

The Comedy of Errors plays at London’s Shakespeare’s Globe until 27 October. Tickets are available on the following link.

By Guillermo Nazara