Comedy Of Errors – September 2012


By William Shakespeare

Directed by Amir Nizar Zuabi

Venue: RST

Date: Tuesday 25th September 2012

The performances tonight seemed as good as last time, and the crowd were certainly having a good time. I noticed one or two moments which I hadn’t remembered to note down or hadn’t seen before and overall we still enjoyed ourselves, but as this was the fourth performance we’d seen it didn’t surprise us and some of the non-textual humour was wearing a bit thin, hence the lower experience rating.

          Being close to the front this time meant I could check out the pool of water in the corner, and I saw that a shopping trolley had been submerged in it; I assume this was an extra protection for A/E to stop him rolling into the water. Angelo was limping tonight, and we learned that he had damaged his calf and was in a lot of pain, poor lamb. I spotted the fish which Luciana spat out after her first head dunking this time. Earlier, when D/E reported that his master wouldn’t come home to dinner, “send some other messenger”, he indicated Luciana – she backed off, alarmed, and gestured ‘no way’ with her hands. The two Dromios didn’t look through the letterbox at each other tonight during the dinner scene, and I think their positions were reversed for the final part of the play tonight, with D/S on the left and D/E on the right. Maybe it was deliberate, maybe not. The audience responded well to them holding hands, then the hug, then the door slamming shut, so again it was a very good ending which I saw through the sniffles.

          It was interesting to see this production so often through its run. The first time we saw it was during its previews in March when we rated it at 5/10, recognising its potential but not really liking the heavy emphasis on violence. The cast were clearly struggling a bit at that time to handle the demands of the set along with the demands of the play itself, but we knew that they would improve with practice.

The second time we saw the production was in July, and we gave it 7/10. Some of the business had changed, the current ending was in place, and the cast were much more settled and giving stronger performances all round. Our view wasn’t as good that night, but the improvements made up for that.

Our third experience was in August, and earned 8/10. The performance had come on even more from July, and we had great fun with the enjoyable parts of the production. Our sight lines were good, and there was a sparkle to the evening. I didn’t feel that same sparkle tonight, though whether that was them or me I don’t know. The violent bits were still unpleasant and even boring, and I found that knowing that the young man who leapt out of the crate early on would be dead by the interval took all the fun out of the event for me. Steve reckoned the dialogue wasn’t as clear tonight, and certainly a lot of lines were obscured by the comic business. Our view was also blocked in different ways tonight, and so we missed out on some of the visual humour we’d seen before, though in the case of Nell’s marrow that was probably just as well.

From my observations tonight I would suggest that non-textual business, though it can be great fun at times, doesn’t last as well as text-based humour, be it verbal or physical, and when the comic business is allowed to dominate at the expense of the dialogue, it shows a level of disrespect for the text which may be indicative of other problems. Anyone seeing this production only once may well love the way the comedy is presented, but there doesn’t seem to be anything more to gain from repeated viewings, unlike some other productions we’ve seen a number of times. Still, I’m glad the cast have overcome the inherent difficulties imposed on them by the designer and director to produce a lively and engaging piece of work – good for them.

© 2012 Sheila Evans at

Comedy Of Errors – August 2012


By William Shakespeare

Directed by Amir Nizar Zuabi

Venue: RST

Date: Thursday 23rd August 2012

This was great fun tonight. We thought this production had potential when we saw it in preview, and they’ve proved us right. There were a few changes and some things which I saw for the first time from our new angle, while the dialogue was much clearer than before.

There were no changes to the set as far as I could see. [Having checked my earlier notes again, I think the two bollards at the top of the raised ramp at the back had disappeared by this time. Either that or I just couldn’t see them from my position.] The opening scene was likewise the same, and although some people laughed at the violence, I found it unenjoyable. It did get the story of the twins across quite well though, which is important. When the crates arrived at the dock, I spotted Dromio of Ephesus passing through the scene this time, and being chased off by the dock workers.

When he returned to summon his master, as he thought, to dinner, his hand gestures were even more persistent than before. He kept moving them from pointing in Antipholus’s direction round to the far exit, encouraging him to go. It was very funny, although I did wonder if it was getting in the way of the scene a bit, as I wasn’t listening to Antipholus so much. Still, I love the two Dromios in this, so I’m loath to criticise their comic business.

The same three illegal immigrants came out of the other crate, though this time the woman offered Antipholus the track suits and then the bags – no sale. Again this business interrupted the dialogue a lot, and risked losing the energy as well, but they kept it going just fine.

Adriana and Luciana were good, with their dialogue being much clearer, apart from the time when Adriana stuck her napkin in Luciana’s mouth to stop her wittering on about marriage when she’s still a spinster. Dromio leapt up on to the struts of the ceiling to avoid Adriana’s wrath, and I forgot to mention last time that she took a cupcake off the stand on the table after Dromio had gone and smashed it into her face when she was talking about losing her beauty.

When Antipholus of Syracuse met his own Dromio in the next scene, he took his jacket off to be able to beat him the better, and handed it to Dromio to hold. It was dropped on the ground at some point, and later Dromio picked it up to put it back on his master, only to start with the wrong sleeve. When he did get the sleeve right, he failed to get it on Antipholus’s arm, so the whole jacket slid over his shoulders. Antipholus took it off Dromio and put it on himself, just before Adriana and Luciana arrived. (They cut the lines after “purchase me another dry basting”.) I noticed that Adriana threw her lovely coat with a fur collar down on the stage after she arrived, but almost immediately picked it up and gave it to Luciana to hold; care of one’s clothes seems to be a theme of this production.

We’d heard from Kirsty Bushell that she did some business to suggest that Adriana noticed some changes in her husband – the Antipholi are very different in height – and we spotted these tonight. She’s also playing Olivia in Twelfth Night, and one of the directors had told her that when her characters see the other twin, they are in such a needy place that they overlook what’s obvious to the rest of us. It’s a fair point, though not quite enough to cover the discrepancies in these productions, but we managed to overlook the problem so as to enjoy ourselves more.

The look of puzzlement between Antipholus and Dromio got the laugh that normally comes on “plead you to me, fair dame?”, which is fair enough, and Dromio almost fell in the water trying to get away when Antipholus was angry with him over Adriana’s confirmation of his earlier encounter with Dromio of Ephesus – “for even her very words thou didst deliver to me on the mart”. When Antipholus and Adriana kissed, Luciana looked away, embarrassed, while Dromio seemed more concerned about being beaten again. The door was hoisted onto the stage, and although I didn’t find the opening scene funny, I did laugh at the slapstick when Dromio was hit by the door, twice.

With the Syracusan pair safely installed in the Ephesian house, Adriana’s real husband turned up with his mates for dinner. The scene was as before, though we had a better view of some aspects from the side. The two Dromios looked through the letterbox at one point and both backed off rapidly from the door, scared by what they saw. I didn’t see much of Nell this time until she chased Dromio of Syracuse off the stage with a large squash. After Antipholus of Ephesus left, his Dromio chased after him carrying the “iron crow” he’d asked for. I foresee another beating when he catches up with his master; he interpreted that instruction by bringing a weather vane with a crow on top of it.

The scene between Antipholus of Syracuse and Luciana was OK, and certainly made it clear that Luciana fancied this Antipholus a lot. The following section, with Dromio relating Nell’s attributes, was very entertaining, and then we just had the delivery of the chain by Angelo and the capture and shooting of the other illegal immigrant before the interval. This time the captain offered his gun to Antipholus to shoot the man, but he ran off in a panic, naturally enough. The lights went out before the shot, as before, and although the audience took a little while to realise it was time for applause, we dished out plenty when the penny dropped.

It was a brisk first half, and the second opened with the disposing of the dead body – no improvement there.  Then followed the scene with Angelo in danger of being arrested over the money he owed to a merchant. When Antipholus of Ephesus arrived, they argued over who had the chain, and at one point the goldsmith was so stressed he had to use his inhaler. When Dromio of Syracuse arrived, he was carrying a lifejacket and had a bright orange life preserver round his neck – very funny.

The next scene had Adriana dunking Luciana in another goldfish tank; I assume no fish were harmed in this production, even though Steve spotted Luciana spitting one out when she lifted her head out of the water. This time the water torture was funny, especially when Adriana dunked her own head in there at the end. The platform was still suspended for this scene, but apart from a few spins and Dromio of Syracuse being nervous about stepping off it, it didn’t add much.

When the platform was being winched on and off again, they covered the scene change with some business, usually having the band troop across the stage. For this change they also laid out some barrels and rolled Antipholus of Syracuse across them. When the others left, Antipholus was balancing on one remaining barrel, holding a bag (as provided by the woman from the crate) and for some unknown reason a scrap of green cloth. He delivered the lines well enough, but he could have done it just as well standing on the ground.

When he did get down, we noticed he placed the bag under the barrel to stop it rolling down the stage. The courtesan was much the same, but one thing I forgot to mention before was that after the Syracusans left, and when she was planning to visit Adriana, she took the padding out of her bra – four separate pieces – and threw them behind her. This got a good laugh. When Dromio of Ephesus passed across the stage, he was carrying a big bundle of rope – we know what he’s going to do with that – and when she threw her shoe at him tonight she almost hit him. This is a dangerous production for the male actors with the women being so violent; even the Madonna has hit someone in passing.

Speaking of which, Adriana dealt with the officer by twisting his arm behind his back, and after the abbess had dealt with Adriana’s attack by crushing her fist in her hand, both the officer and another chap leapt out of her way when she went back into the abbey, all very funny. In general, the scenes through to the final confrontations in front of the abbey were good fun with no significant changes to report. There was a strong response to the merchant, the one to whom Angelo owed money, taking out a machete to fight Antipholus of Syracuse. When Dromio of Ephesus confirmed that his master had not dined at home, he revealed to Adriana that they had dined with the courtesan. Her story had been that Antipholus had rushed into her house and stolen her ring, but now Adriana knew the truth she was not a happy bunny – that was what led to her slamming the courtesan’s head against the oil drum. She also pulled down the hem of the courtesan’s skirt earlier as it had been riding much too high, entirely intentional on the courtesan’s part. The rest was as before. I sniffled, I laughed, and the ending was just as good as the last time.

There were a few new bits of business that I find hard to place. Nell came running across the stage after Dromio of Syracuse who had just left, crying “Dromio, Dromio, wherefore are thou Dromio?” which was very funny. But then Dromio of Ephesus came on stage, spotted her leaving and rushed after her saying “shakalaka” or some such vocalisation of desire. During another of the scene changes, the woman from the crate wheeled her shopping trolley onto the stage and was selling to the citizens. Dromio of Ephesus and his Nell wandered on and were looking at the goods – presumably he was going to buy her a present – but the police came along and the woman, along with everyone else, was off like a shot. When Angelo was talking about the chain to Antipholus of Ephesus, he tried to mollify Antipholus’s anger by repeating some of the  tune they’d been singing earlier, to no effect.

This production has really come together. There’s still too much unnecessary violence and tricksy staging for my liking, but the cast have overcome all of that to tell the story really well and provide us with a lot of humour along the way. The two Dromios are still the best thing in it, but the others have caught up a lot, and they deserve to play to packed houses. Good luck to them.

© 2012 Sheila Evans at

The Comedy Of Errors – July 2012


By William Shakespeare

Directed by Amir Nizar Zuabi

Venue: RST

Date: Wednesday 25th July 2012

There were a number of differences between tonight and the first time we saw the production, and all for the better. The stage was less cluttered, although the shiny black ‘water’ in the corner, with all the bits of rubbish ‘floating’ in it, had been replaced by real water – oo-er (glad we weren’t sitting over on that side tonight). The band seemed to walk across the stage much less tonight – I certainly don’t remember them in the red tracksuits – and there were some other cuts as well, with a few additions. Overall the dialogue was delivered better, but for some reason Adriana and Luciana were hard to understand after their first scene, and I missed most of their lines for the rest of the play.

The Duke’s treatment of Egeon at the start was just as harsh, but it was clearer that it was derived from the equally harsh treatment meted out to Ephesians by Syracuse. Once Egeon’s story was underway, he was only dunked once more (gratuitously, I thought), but his treatment began to improve as the Duke’s hard heart defrosted slightly. At the end, the Duke had softened enough to dab at Egeon’s wet patches with his towel, and offered him the opportunity to find a friend who could help him out.

Antipholus of Syracuse (A/S) and his Dromio (D/S) arrived the same way as before, but when A/S was on his own, even more characters came out of the other crate. First the black guy who was caught at the end of the first half, then a priest in a long black robe, then the woman selling the knock-off goods.

For Adriana and Luciana’s first scene, the platform was (slowly) brought on, but this time it was lowered all the way to the ground and stayed there – hooray! This made it much easier to follow what was going on, and I found I was engaging with the women much more this time. Actually, it was easier to engage with Adriana, as Luciana is such a wimp, and in this production a bit of a prude as well. The next scene, with D/S meeting his master, was fine, and if I had been able to see more of Adriana’s speech to her ‘husband’ I would probably have enjoyed that section as much as the rest of the audience. Again they didn’t seem able to get the laugh on “Plead you to me, fair dame?” At one point both D/S and A/S were edging towards the water and I wondered if they would fall in, but they were safe this time.

I could see more of the arrival of Antipholus of Ephesus (A/E) this time, and although the reactions were good, it didn’t seem any funnier than before. I noticed Dromio of Ephesus’s (D/E) attempts at rap more though; possibly these have increased? I wasn’t sure what went on between Adriana and A/S; how could they have had sex if only a short while later he was declaring that his soul abhorred her? Yet that was the implication of Adriana looking out of her window with only a sheet wrapped round her, and A/S leaving the house still doing up his shirt and tie.

After A/S’s chat with Luciana, then sending D/S to find a ship and getting the chain from the goldsmith, the young black man from the crate came on again and was caught by the police. Instead of A/S joining in the group photo, he just ran off stage, glad to get away, while the lights went down on one of the guards holding a gun to the young man’s head, about to shoot.

The second half rattled along much as before until we came to the courtesan scene. When D/S rolled the oil drum at her, the flattened bit didn’t stop it, but it was going so slowly that she easily stopped it with her foot and pushed it back. After they left, D/E came running across the stage, and she threw her shoe at him, thinking he was the Dromio who’d just left. They did this a number of times during the play, with the two Dromios often on stage together, or following very closely but not catching sight of each other, and that added to the humour for me.

When Adriana caught up with her husband, bringing along Pinch and his henchmen, A/E was sent flying over one of the oil drums and nearly landed in the water; Adriana had to run over and help him out. This was the only use of the water that I could see. Adriana’s expression when the courtesan claimed her ring was not a happy one. Otherwise the staging was the same up to the end, with the flying Virgin Mary actually hitting one of the cast as she swung back across the stage. [The following day we learned he had been in the wrong place and with his eyes shut. No real damage done, but he won’t be doing that again in a hurry!] There was no second coming tonight though; at the very end, after the Dromios had said their lines and held hands, they walked towards the abbey door, stopped briefly for a hug (aahh), then walked on holding hands again. Just before they got to the abbey, the security door slid shut, and they stood there for a second before the lights went out. Brilliant, much better than the previous version.

The two Dromios were still the best part of this show, but the rest of the cast have come on so much that it’s now a pretty balanced production. There were lots of lovely touches in the comic business, such as at the end, when D/S was using gestures to indicate Nell, and D/E pulled his hand wider to reflect a more accurate size. So despite the difficulties of the restricted view and loss of lines, I enjoyed myself much more tonight and happily applauded when they came on for their bows. There was another treat, too. Bruce Mackinnon stopped us after the second lot of bows and asked if we would stay for a picture to be taken of the audience applauding, for the RSC website. We duly obliged, and then it turned out our hands weren’t visible so we had to clap again with them raised. We happily did this as well, and even called out for more. After several minutes of a rapturous reception, which the cast didn’t seem to mind one bit, the signal came that the job was done and we could all go home (though in our case we went next door to the Swan for the post-show after A Soldier In Every Son).

© 2012 Sheila Evans at

The Comedy Of Errors – March 2012

5/10 (preview)

By William Shakespeare

Directed by Amir Nizar Zuabi

Venue: RST

Date: Wednesday 21st March 2012

This has the potential to be a very good production, but as yet the cast still seem to be finding their feet. This was only the 5th preview (press night 25th April). The dialogue was far from clear, so although I know the play pretty well, I reckon I would be struggling to follow the plot if it was new to me (and assuming I hadn’t read the program notes). The two Dromios are both well matched and also well differentiated; each wore an ‘I ♥ ____’ T-shirt with either ‘Syracuse’ or ‘Ephesus’ on it. They were the best thing in this performance, but even their comic business was being lost at times by the excessive staging.

The set was very important in this production. Ephesus is a thriving international port in this play, so that’s where they’ve set it; a good choice overall, though it did make the domestic scenes a little difficult to stage. The front left walkway had been removed, and that corner of the stage had been given a glossy black finish, representing water, and lots of rubbish has been plastered on it, representing the detritus floating in many a modern harbour. Another puddle sat a bit further back from this, also with a rim of debris, and there were wooden crates, oil drums and those big white canvas-looking builders’ bags around the place. A crane track ran diagonally from back left to front right, and various items were lifted onto the stage by this means, including the Virgin Mary (I kid you not!).

The rest of the stage was covered with wooden floorboards; at the back these rose up from the stage, first in a short shallow ramp, then as a vertical backdrop with jagged edges, lower at the left where the crane was operating. Several sacks had been stuck on this upright floor, and there were two bollards near the top with ropes wrapped round them which disappeared up into the flies. It was an interesting perspective, suggesting a topsy-turvy world as well as being a clear reminder we were at a port. Behind this panel of floorboards we could see an old fashioned metal post that’s the upright for some structure or other; it had curved metalwork corners suggestive of Victorian architecture. [23/8/12: Since learned that this is a structure in the Roundhouse which can’t be moved, so they decided to incorporate it into the set in Stratford as well.] There was another panel behind that which looked like corrugated iron(?) but I couldn’t see it clearly enough to be sure. There were two obvious trapdoors in the shallow ramp and the vertical part at the back, while others were concealed below oil drums and crates. At the start, there was also a fish tank sitting in the middle of the stage.

So it was a pretty grim setting for such a light comedy, and with gloomy lighting as well making it harder to see what was going on, this wasn’t the brightest version of the play I’ve seen. The opening sequence can be a  very moving scene, with the Duke explaining to Egeon (and us) just how much trouble he’s in, and Egeon in turn telling the Duke (and us) the sad history of his life. This time it was both unpleasant and unclear. The lights went down, and when they came up Egeon was having his head dunked in the fish tank by an armed guard, while another guard directed the light and the Duke came on in his dressing gown using a microphone to broadcast his words over the tannoy system. He only used this for the first few lines and some others during this scene; the rest of the time he spoke normally, which was a shame, as I found I could hear him much better with the amplification.

Egeon’s head was dunked several times, and at first I felt this was unnecessary brutality – this is a comedy, after all. Then I considered that this was simply a way of showing the life and death risk that Egeon, his son Antipholus and his Dromio are all taking by coming to Ephesus. Fair enough, but this is still a comedy, and I found myself wondering if the current generation are perhaps becoming too desensitised to this sort of thing, as was discussed during the post-show for Marat/Sade. Anyway, when Egeon hesitated before telling his story, the guard dunked him again a couple of times, and by this time I had spotted the Duke’s hand gestures to the guard telling him when to raise and when to lower. He even looked as his watch once to time it – very callous. Once Egeon did get started, the dunking stopped, thank goodness, and there were some signs that his listeners were being affected by his tale, but only a few. The dialogue wasn’t clear, I had the Duke’s back to me for a fair chunk of this section, and only my knowledge of the play kept me going – I just wasn’t engaging with these characters at all for once.

Things improved with the arrival of the other two Syracusans, Antipholus and Dromio. As the tank was cleared, and Egeon was dragged off to search through the city for someone to bail him out, a crate was carried on by the crane and lowered down on the far side of the stage. A nervous-looking chap paid off one of the workers and lifted the lid using a crowbar. Out popped Antipholus and Dromio, clearly determined to get into Ephesus by any means available to them, while the merchant’s opening lines warning them of their danger were almost irrelevant given this staging. With Dromio dashing off to the Centaur and the merchant very eager to free himself from Antipholus’s handshake as quickly as he could, Antipholus of Syracuse was soon left alone on stage to comment on his situation. Again, the lines weren’t delivered well enough for me.

Before Dromio of Ephesus arrived, another crate opened up towards the back of the stage and a young chap came out of it. When he turned round and saw Antipholus, he froze for a moment; they regarded each other warily, and then the young man ran off. Illegal immigrants were clearly a problem in this Ephesus. I think this was where the woman came out as well, with her fake designer handbags and red tracksuits. There was some good humour in this; it was clearly a Mary Poppins crate, with more coming out than the crate could hold. After the woman ran off to sell her wares, the scene between Antipholus of Syracuse and Dromio of Ephesus was OK, and I found myself wondering how easy it was to follow this story if you didn’t know it at all, especially if the dialogue didn’t come across well. Dromio of Ephesus was very clear, mind you, and suffered a lot of physical abuse for it. I do hope they don’t get too many injuries during the run.

The next scene with Adriana and Luciana was staged on a hanging platform which was brought on by crane. With a post at each corner, it held a dining table and three chairs, as well as the two women. It was lowered to the ground at first, I think, but later on it was raised slightly. This meant that it swung around a bit, as well as leaning drunkenly depending on where the characters stood, and they even made it spin deliberately, just to add to the distraction. And it was a distraction; this was probably the least interesting Adriana and Luciana I’ve seen so far. Mind you, the weak delivery of the lines and bland characterisation didn’t help – I’m assuming this will change for the better with practice. To be fair, Steve did reckon the actresses looked nervous on their swinging perch, so perhaps that was behind the lack of depth to these portrayals – they certainly came across better when their feet were on solid ground.

With that scene over the platform was raised again and carted off while the action continued below. Again, this was pretty bland, and much of Dromio’s humorous dialogue was cut, sadly. With more beating of servant by master, there wasn’t much of the joshing relationship between this pair that we’ve seen before, which weakened the performance for me.

Adriana’s arrival and pleading to her husband was reasonably good, but ‘Plead you to me, fair dame?’ was followed too quickly by the next line, and the laugh was lost. I did like the way they shifted the scene to the front door of the house, though. A door was carried over by the crane and lowered down towards the back. The characters all went through this, with Dromio being hit twice by the door, once by Adriana and once by Antipholus. It was funny each time, and half the pleasure was the anticipation – we could see it coming a mile off.

Antipholus of Ephesus’s arrival with his friends was a strange affair, not so much because of their entrance but because a group of younger folk behind us were clearly finding a lot more humour in the performance than I was. Their laughter was inexplicable to me a lot of the time, and even got to the point where I felt I was watching a not very funny play and hearing canned laughter which was slightly out of sync with the action, an unusual and rather surreal experience. I did miss a few funny moments admittedly, such as Adriana’s reaction later on when her husband gave the ring back to the courtesan and thanked her for her hospitality – hope to pick that up next time around – but for the most part I reckon we just had different senses of humour. Anyway, Antipholus of Ephesus came on with his mates, singing a song, and that was that.

The door obligingly swung round a bit during the next bit so that we could see both Dromios as well as Nell, with her graphic vegetables. She was well padded, and took every opportunity to get up close and personal with her man, as she believed Dromio of Syracuse to be. Antipholus of Ephesus probably lost his temper – I know the play so he must have – and before he left with the others he took several runs at the door but it defeated him each time, finally leaving him prostrate on the ground.

After they left, Antipholus of Syracuse re-entered, doing up his shirt and trousers, although it wasn’t so clear this time how they came to be undone. Luciana followed him a few moments later to tell him off; I have no idea how the lines went, but she was only too ready to rush into his arms and kiss him a short while later so I guess it was business as usual. I was looking forward to the interval by this time. When Luciana left, the door rotated with her on the other side, so as it came round she was in front of it again. They played with this nicely; Luciana realised she was back in the same room as Antipholus, and after a bit of simpering she turned the door back round again. (It was pink on the reverse so we would know which side was which.)

Dromio of Syracuse’s description of Nell was so-so – again, the lack of a comedic relationship between master and servant didn’t help with this – and then he was sent off to find a ship they could leave on while Antipholus of Syracuse met up with the goldsmith and received the chain. When Antipholus suggested the goldsmith take his money then and there, he actually held out a banknote to him. I reckon it was nothing like the amount the chain cost, judging by the goldsmith’s reaction; he laughed indulgently and turned it down with the line “You are a merry man, sir”. After Antipholus’s final lines, the young man who had also emerged from a crate came on stage trying to get away from the guards, but they had him cornered. As they closed in, Antipholus was convinced they were going to catch him as well, but of course they thought he was their Antipholus. They surrounded the two men, arrested the young man, and included Antipholus in their group photo which ended the first half.

The second half began with an invented scene. The Duke, Egeon, some guards and the band entered on the right hand walkway, with the recording of the Duke’s earlier line about finding someone to help Egeon blaring out several times. The band was good musically, though they had a strange habit of turning up in all sorts of different costumes during the play. They were in dockers’ gear, including hard hats and Day-Glo vests, in S&M outfits, all in red tracksuits (the ones the woman had been selling) and one or two other costumes. I suppose they fitted in with whatever else was going on, but it didn’t add to the performance for me. Anyway, the guards hoisted up a dead body wrapped in black clingfilm – we could see a foot sticking out at the top of the parcel – and hooked it up to the crane. It was then taken towards the back, swinging slightly as these things do, and dropped off the dock behind the floorboards; there was a splashing sound and some glitter was thrown back over the boards to suggest water. Another reminder of the harshness of this regime and the high risk of death – they must think we’re incredibly stupid and/or have very short attention spans. I did think the body may have been that of the man they captured just before the interval, but if so his foot looked decidedly lighter in colour than the skin tone of the live man, so I don’t know if that was the intent. This extra bit didn’t really add anything for me.

The next scene proper had the merchant and the goldsmith entering with the officer – a menacing looking individual with a nasty looking stick – and the goldsmith was very keen to get his debt paid and avoid arrest. The scene unfolded in a pretty straightforward way, with Antipholus of Ephesus’s arrival, the arguments over who has the chain, etc., etc. I did enjoy Dromio of Syracuse’s entrance with a lifejacket and lifebuoy; he was so enthusiastic that we couldn’t help laughing at him.

For the scene between Adriana and Luciana, the platform came back with the fish tank on it, and Adriana was dunking Luciana in it, demanding to know what her ‘husband’ had said. This made more sense, and did at least give us some comic payoff from the opening scene. I noticed that the water level was much lower this time around, presumably so that Luciana’s hair didn’t get too wet. When Dromio of Syracuse turned up, they spun the platform round again, and got a little humour out of the way Dromio had to either run round with it to talk to Adriana, or stand still and speak to her every so often when she came around again. She also lashed out at him with her foot a few times when she came round. At the end of the scene, Adriana put her own face in the water as a sign of her dejection, also funny, but the bulk of the dialogue was lost again in the spinning.

For Antipholus of Syracuse’s next entrance, the band and everyone else were wearing the red tracksuits and showering him with gifts. When they left, Antipholus was standing on an oil drum which was on its side, so he had to balance on it as it gradually rolled a little backwards – an impressive feat. When his Dromio turned up with the money he’d got from Adriana, Dromio started off his questioning about the strangely absent officer by mouthing the words at first, which I enjoyed. Then he went through the long, roundabout descriptions, and finally Antipholus got his meaning; this was the first sign of some connection between these two. The courtesan arrived in a slinky short dress that left almost nothing to the imagination. Her posturing was also pretty graphic, although this wasn’t the coarsest Comedy I’ve seen by a long way. Dromio hid behind an oil drum during this scene, gesturing to Antipholus to run away from this she-devil, but as she was bending provocatively over another oil drum at the time, Antipholus was finding it hard to concentrate on anything else. Eventually Dromio tried to roll his oil drum at her to chase her off, but it had been specially flattened on one side and didn’t go very far. As Antipholus finally ran off, he threw her over it, another opportunity for injury, and as she got up she hissed in reply to Dromio’s parting words. I remember she took off a shoe – she was wearing very high heels – and threw it at somebody – don’t remember who – before saying her lines about going to Adriana and then limping off.

Antipholus of Ephesus, with his hands tied, assured the officer he wouldn’t try to run away, and then did just that a moment later. Poor fool, there was nowhere to run, and the officer had him in custody again almost immediately. Dromio of Ephesus’s entrance was good fun. He came in on the walkway trailing the rope behind him. As Antipholus stood there, Dromio pulled the rope through and piled it up in his arms; with more and more coming along it made a huge heap, almost obscuring Antipholus’s face. Dromio looked very pleased with himself, but he was soon unhappy again at his master’s anger.

Doctor Pinch’s arrival is something I usually dread, but this was one of the better versions of this scene. Jonathan Slinger gave us a camp gothic Pinch, with a crew of S&M attendants and a nasty pair of electrodes which he used whenever he could. The gleam of pleasure in his eye when he reckoned he had a madman to deal with was alarming, and Antipholus and Dromio were eventually bound in black clingfilm before being taken away on a trolley, accompanied by occasional prods with the electrodes.

Adriana was just sorting out the extent of Antipholus’s debts with the officer when the Syracusan pair arrived, and with this Antipholus brandishing a small knife, the rest ran off, afraid as much of their power to escape Pinch as the ‘sword’ itself. The meeting with the goldsmith and his creditor then followed, and this creditor had managed to conceal a considerably larger sword about his person which would have made the fight with Antipholus rather one-sided had Adriana and the rest not turned up to ‘recapture’ them.

This was when the Virgin Mary turned up. Rising above the boards at the back, her statue was brought forward by the crane. It also swung back and forth a bit, enough to make it funny rather than creepy. Everyone on stage stopped and looked at it, as did the audience. We also laughed. Then some angled doors lit up in the vertical ramp at the back; this was the abbey entrance which Antipholus and Dromio of Syracuse escaped through – more laughter.

The abbess came out almost immediately, and in no time at all she had established who was boss. Adriana even tried to hit her, but the abbess grabbed her fist and squeezed, and in no time at all Adriana was on the floor, saying ‘ow’ and with a very sore hand. When the throng threatened to rush the doors, a metal panel slid shut behind them – one of the highest security abbeys I’ve ever seen – but it opened again to let the abbess back in. As she stormed past the characters on stage towards the back, they all got out of her way sharpish, including the officer, who jumped aside looking very alarmed – no way was he going to tangle with that woman!

For the Duke’s entrance, Egeon was brought on by the crane, suspended high up and dangling near the front of the stage. His feet were supported, but even so he was there for quite a long time before being lowered down. The Duke came on with his assistant and guards and they were very jumpy, brandishing their guns around as soon as look at you. The Duke took out his own gun and was pointing it at people when he wanted them to talk, though at first the scene started off amicably enough. Adriana made her plea for assistance, kneeling down to the Duke as she did so. Her servant arrived, and that was when guns were first drawn; the poor chap looked terrified, but then so did everyone else.

When Antipholus of Ephesus and his Dromio turned up, this Antipholus still had a chair attached to one arm by the clingfilm, and there were scorch marks all over his suit. He pleaded with the Duke for justice, everyone told their version of the story, and by the time the Duke sent for the abbess he was waving his gun around and making everyone even more jumpy. At this point Egeon spoke up, and got a good laugh at his lines – he was looking right down at Antipholus of Ephesus at that point. He was lowered to the stage and unhooked while his apparent son and servant disclaimed all knowledge of him, and then the abbess returned, heralding the arrival of the other two twins. I couldn’t see them at first from my angle, so I lost some of the effect of this bit, but they were soon in view for the (sniff) reunion scene.

The Dromios had been very well cast, and looked plausible as twins, as well as having similar comedic styles. The Antipholi (Antipholuses?) weren’t going to fool anybody, being at least six inches different in height, and although they were facially similar, the fact that one of them had a chair strapped to one arm would have surely made it a bit easier to tell which was which. Once again, nothing was made of the wonderful line by the abbess, or Emilia as we then knew her to be – “where is that son who floated with thee on the fatal raft?” There was a general tendency in this production to skip quickly over the text-based humour in favour of the physical stuff, but this really is a gem of a line requiring some reaction from the assembled throng. There was hugging and revelations and I sniffled (I really can’t help it), and then the abbess invited everyone into her place for a feast. When only the Dromios were left, they said their lines very touchingly, but before they exited, the flying Virgin came back again for a final swing across the stage. It got a good laugh, and was OK on that basis, but it did spoil the energy of the ending. This time, the lights simply went out and that was that.

There were some other bits of staging that went quite well, but I’ve forgotten exactly when they happened. Dromio of Ephesus used rap rhythms for a few of his lines to his own Antipholus, which he did very well. The Syracusan pair hid in oil drums at the back of the stage at one point, with Antipholus fitting nicely in his, and Dromio having to lift the drum up and hide his upper body while his legs showed below – good fun. He also ran off still holding the drum, another funny bit. There were enough of these good ideas to make the evening an OK experience, and to suggest that the production may be quite good once it’s worked in, but from my perspective they do need to work on the dialogue a lot more. A lot of the ensemble are making their RSC debuts, so perhaps the voice work they’ll do here will bring them on; it certainly helped a number in the very long ensemble that spanned the Courtyard/new RST period.

The two Dromios – Bruce Mackinnon, a very good Algernon in The Importance Of Being Earnest at the Rose recently, and Felix Hayes, very good as Snug the joiner in the recent RSC A Midsummer Night’s Dream – were the clear stars of this production, and I’m already looking forward to seeing them again in this and in their other roles. Nicholas Day did the best he could with Egeon’s part, but the staging didn’t do him any favours, and of the rest I enjoyed Jonathan Slinger’s Pinch, Sargon Yelda’s Angelo (the goldsmith) and Solomon Israel’s officer.

Almost forgot to mention – the noise of the crane as it moved back and forth was another distraction we could have done without; Steve noticed it more than I did.

© 2012 Sheila Evans at

The Comedy Of Errors – December 2011


By William Shakespeare

Directed by Dominic Cooke

Venue: Olivier Theatre

Date: Tuesday 20th December 2011

I liked the liveliness of this production, and the contemporary London setting was effective too, especially in the chase sequence. I felt the cumbersome nature of the set slowed things down a bit at times, but overall it was a really enjoyable production with some good performances.

The opening scene was set in a disused warehouse, with lots of balconies, windows and stairs, very effective when they were miming the shipwreck in Egeon’s story, although this was one of the times when the set did slow things down. At first it looked like Egeon was being mugged, with the Duke’s men taking his money, and I suspect they kept a fair bit for themselves before they handed the rest over to the Duke – that’s how he can estimate Egeon’s resources so accurately. When the Duke turned up he wasn’t friendly, but once he’d heard Egeon’s story he was kinder to the man.

The scene changes were covered by a street band singing familiar songs in a foreign language – couldn’t tell you which ones, though a couple of the tunes were familiar. For the next scene, the buildings rotated to reveal street cafes with metal tables and chairs in amongst office buildings – London, in effect. There were several other people at the café, and when Antipholus of Syracuse beat up Dromio of Ephesus he also caused mayhem with the food and drink on the tables.

The next scene was at the Phoenix, an ultra modern housing development nestled between two older buildings. Adriana and Luciana were on the first floor balcony, and Dromio of Ephesus spoke to them from the ground level, hiding under the overhang to swig from a bottle. This setting restricted the women’s movements, and I felt it held the scene back a little, certainly from our perspective, being close in. It may have worked better for people further back.

The following scene was set in a snooker hall, where Dromio of Syracuse found his Antipholus playing at one of the tables. Dromio got into trouble, yet again, for not knowing about his twin’s visit to this Antipholus, and Antipholus made good use of the snooker cue to give him a beating. This done, and some sense of jesting restored, we saw the two women walking past the snooker hall window. When they saw Antipholus, they came in, drawing the attention of the other men in the place, with several lewd looks and a whistle or two. Adriana was very seductive in her complaint to Antipholus, and there was the usual laugh at Antipholus’s amazed comment “To me she speaks”.

Antipholus and Dromio went along with the women’s mistake, and soon arrived at the Phoenix. They all went up in the lift (only just squeezed in) and shortly afterwards Antipholus of Ephesus entered with his two companions and his Dromio. As I recall, while they were going through their discussion of welcome versus food, we got to see Luce herself tidying up on the balcony. The banter between the Dromios was largely conducted over the speaker phone; once Antipholus of Ephesus joined in, the argument became even rowdier, and when Adriana joined in, she stepped out of the upper room, clad only in a bedsheet! Lunch was a short meal that day.

Once the Ephesian pair have left, Luciana and Antipholus of Syracuse have their scene downstairs, coming out of the building. Dromio joined his Antipholus there, running away from the kitchen maid. His descriptions of her were pretty funny, though not the best I’ve seen, and then Antipholus sent him to the harbour to find a ship leaving that very night. The goldsmith then turned up and gave him the gold chain, after which they took the interval.

The second half started with the Porcupine on the right and a jeweller’s on the left. Antipholus of Ephesus was soon arrested – the goldsmith handed even more cash to the officer than the merchant, so the officer kindly gave the merchant his money back – and the wrong Dromio was sent to get the money from Adriana. This time, however, we were inside the building, and Luciana and Adriana were wheeled onto the stage front and centre. Adriana was lying face down on a massage table (in theory) and Luciana was sitting in a chair having her nails done. Luciana’s expressions were very good here, showing her sympathy for her sister at her (presumed) husband’s abuse, then concern about telling her of said (presumed) husband’s proposal, then self-satisfaction as she recounted the ways in which she had been praised.

Adriana was lying on the table for the first half of this; she kept lifting her head up so she could question or complain, and her masseur kept putting her head back down in the slot, which got some laughs. When Luciana got to the proposal, it was too much for Adriana, and she got up. The masseur held her robe for her, so she was fairly decent by the time Dromio of Syracuse ran in, out of breath. With Dromio despatched carrying the money, Luciana wheeled off her chair, and after another few lines Adriana left with her table.

I think this was the point where there was a knife shop on the left and an empty one on the right, and this was the setup for the chase sequence. The empty building on the right soon had a woman posing in the window, and was revealed as a knocking shop; the courtesan came out of here to accost Antipholus of Syracuse about the chain he’d promised her, and a group of these women ganged up on the hapless visitors. After their departure, and the courtesan’s decision to visit Antipholus’s wife (troublemaker!), Antipholus of Ephesus and the officer came on for the encounter with Dromio of Ephesus. This was followed by the arrival of Adriana and a small entourage, including Pinch. This was a better version of Pinch than some, a modern dress charlatan, and when he was trying to take Antipholus away, a small ambulance van came on stage, and a remarkable number of medical staff came out of it! This led to the chase sequence, and here we had lots of medical folk running around, not quite Keystone cops, but almost that level. One of the team tried to put a straightjacket on someone in the audience, presumably because he/she was wearing a red top, vaguely like the Dromios’ Arsenal strip.

With the two men caught at last, and taken away for their recovery, the other Antipholus and Dromio crept out of the knife shop, carrying some very large kitchen knives. There was another confrontation or two, and finally they were chased into the Abbey, in this case the Abbey Clinic, an imposing looking building with a nameplate and letters above the door. The Abbess, who ran the clinic, was very definite that no one would be entering her clinic to take the men away.

When Luciana suggested an appeal to the Duke, Adriana got her iPhone out, and was scrolling through her contacts for the Duke’s number. She didn’t need to call him, though, as he turned up himself for Egeon’s execution a few moments later. The rest of the story was staged very nicely, and I sniffled a bit, as I usually do – I like happy endings. I also love the way this family, separated for years, take so long to realise what’s going on.

We enjoyed this production very much. The two pairs of twins were well cast to match each other, although the Dromios’ frizz wigs and some padding under the clothes helped a lot too. Mind you, they needed the padding to take the sting out the many beatings they got. The Ephesus pair talked with London accents, while the Syracusans had strong African accents – this really helped to differentiate them, and was a good reminder that the Syracusans were strangers in a dangerous city. I did find Adriana a bit muted compared to the usual interpretation, which was a surprise, but other than that the cast did a great job. I felt they could have done more with Egeon – they did have people walking through the set during scene changes, as well as the band – but it’s a very minor quibble when the performance as a whole was such great fun.

© 2011 Sheila Evans at

Comedy Of Errors – April 2011


By: William Shakespeare

Directed by: Paul Hunter

Venue: RST

Date: 2nd April 2011

After such a superb Comedy at the Tobacco Factory, I was prepared for this to be much less enjoyable. The opening sequence to this version suggested this might happen, but I warmed up once the dialogue started and I could see the style of the piece – basically, a jolly romp through the play with lots of fun for young and slightly less young alike. By the end, I was as enthusiastic about the performance as anyone in the audience.

The set was industrial drab, yet again, with a square raised platform in the middle of the stage, a grubby sheet as a curtain hanging at the back, musical instruments ranged along the back of the stage in front of this curtain, and assorted electrical appliances secreted here and there – some under the stage, some along the back such as a fridge. The cast were mainly in an eclectic mix of scruffy outfits, and when they did glam up it was usually by throwing a glitzy number over the original togs, making for even more fun. Only the Antipholuses and Luciana looked remotely normal, she in a pretty summer dress and thick socks, they in matching suits and ties. The Dromios wore matching track suits and hats.

The performance started in stealth mode, with the actors strolling on, as they do, strumming guitars, chatting to the audience, strewing bits of straw all over the place (this was James Tucker – you could tell he didn’t have to clear it up afterwards). After a bit of this, the rest of the cast shoved off to the back of the stage, while the Ephesus Dromio (Dyfan Dwyfor), woke up, came out from under the platform and started to play some catchy rhythm on a toast rack. Mariah Gale snuck up behind him, grabbed the toast rack and kept the rhythm going, while the rest of the cast joined in on anything they could lay their hands on. Soon we were all clapping along with the beat. It was an energetic start to the performance, but I did start to wonder just when we going to get to the actual play.

The Duke arrived, resplendent in a fancy jacket and red tracksuit bottoms, and Egeon was taken out of the fridge to hear his doom. It was at this point that I started to get involved. Clearly, they were going for humour all round – no moving story of Egeon’s sad life here. Instead, they demonstrated in mime on the platform the story Egeon was telling the Duke, and this is where the performance really got going.

As he described how he left his wife in Syracuse and the birth of the twins, etc., these characters appeared on the platform, and acted out the story with some brilliant comic business. The first set of twins was born – Richard Katz (A/S) and James Tucker (A/E) – and to make them look identical, they each had one of those false nose, glasses and moustache sets. Given the difference in looks, this was not only a great device, it let us all have a tremendous laugh at the absurdity of it all. Then the Dromios were born – Dyfan Dwyfor (D/E) and Jonjo O’Neill (D/S) – followed by the tale of the shipwreck. This was beautifully done, with the children being tied together, a ‘rock’ breaking through and holding back the one lot while the others were dragged off stage by the stormy waves. So now we knew what they all looked like, and we’d got the laughing muscles well warmed up.

Somehow, this bit blended into a musical number, with A/E at the front of the platform giving a virtuoso (mimed) performance on the spoons, to the delight of the assembled crowd. (The actual player was Dyfan Dwyfor.) When A/E finishes, to much applause, he heads off stage to our right, the crowd waving goodbye all the while. So when A/S and his Dromio arrive to our left, the crowd do a nice double take before clearing the stage.

To save on actors, there’s no other merchant to warn A/S about the situation in Ephesus, so after he sends D/S off to their lodgings at the Centaur, he takes a (free) paper that’s conveniently being distributed right next to him and gets the news about the Syracusan merchant being condemned to death from that. Then A/S has his first encounter with D/E, and the rolled up newspaper came in very handy for a few blows. This was all very energetic, and the humour came across very well.

Next we were introduced to Adriana and Luciana, at home in their sitting room, complete with telly and a lovely picture on the wall of A/E holding his spoons (i.e. James Tucker holding a frame and the aforementioned musical implements). I felt the energy dropped a bit at this stage, but it picked up again when D/E arrived. When he was recounting the story of his meeting with the man he took to be his master, A/S stood by a microphone back left, and said his lines, with D/E mouthing them on the platform.

The next scene rattled through straightforwardly, then with A/S off to dinner with his ‘wife’, A/E appears with his cronies, and they’ve clearly been enjoying themselves. This time, there’s an actual door to knock on, right in the middle of the platform, and D/S, with help, keeps them out. In the process, A/E takes off his jacket, and when he puts it back on again, it’s inside out, and stays that way for the rest of the performance.

After they leave, A/S reappears, still wearing his napkin (which stays there till the end), and we get the bit about how the people he meets in the street keep giving him things (Act IV, scene 3). It struck me as a little odd – he’s just come from dinner and hasn’t been in the street for a while – but I put that down to me knowing the play really well by now, and let it pass. Luciana comes on to lecture A/S at this point, and in the course of wooing her he produces lots of red paper hearts and throws them everywhere. One of them landed near us, and we kept it as a souvenir. Luciana evidently kept one as well – more on that story later.

With Luciana’s exit, D/S arrives at a run, and we get a much shortened description of Nell, his ‘betrothed’, with the countries expunged. A/S sends him off to find a ship, receives the chain from Angelo, and leaves quickly while the goldsmith is still on the platform with his back turned, calculating the chain’s cost. When he turns round again, there is A/E who has just sent D/E for a rope’s end. Angelo tackles A/E for the money, and after the usual misunderstanding, the other merchant who has claims on Angelo turns up, and the whole multiple arresting process gets underway. I must say, this A/E was the most relaxed about being arrested I’ve ever seen.

Before he leaves the stage, D/S arrives to tell his master he’s found a ship that’s leaving that night. Aware of the risks, he’s taken the trouble to disguise himself in a large cardboard box – I spotted it creeping on via the gangway to our right. D/S holds it up a little to say his lines, and then someone finally takes the box off to reveal him crouched there. A/E sends him to get a purse from Adriana for his bail, and then we’re back in the sitting room, where Adriana is letting rip at her husband for trying to chat up her sister. This time, the picture of A/E responds to her ranting by pulling faces at her while her back is turned – very childish and very funny – and then D/S rushes on to get the money, and they all head off.

A/S reappears, and is met by his own Dromio this time, with the money. The courtesan (Mariah Gale in a tacky blond wig), spots him and wants her chain, which he refuses, and he and D/S leave. Her speech about Antipholus being mad, and telling his wife about him stealing her ring is followed by a song. A microphone is placed at the front of the platform and she does a raunchy little number, with the rest of the cast as her backing vocalists. All good fun.

Next came the scene with A/E meeting his wife, sister-in-law, D/E and the courtesan, and the confusions start to build, with various people swearing to different bits of different storylines. Now it all happened thick and fast. A/E and D/E are taken away, bound, and put into the fridge, A/S and D/S turn up and are chased into the abbey, represented by a pair of curtains at the back of the platform. When the Abbess comes out to deal with the crowd, she appears to have originated from one of the rougher parts of London, judging by her snarled ‘shut it’ and the like. She also missed out on a performing career to take the veil, judging by her readiness to launch into a song and dance routine at the first opportunity.

Anyway, the Duke and Egeon also turn up, the various stories are put forward, with Luciana being the one who brings the news of A/E and D/E’s escape, and finally the Syracusan branch of the family are revealed. The two Antipholuses react brilliantly to each other, taking off their glasses in slow motion and moving them towards each other (they’re both on the platform only a few feet apart).

With the mystery mostly explained, A/S turns to Luciana and makes his play for her affections, at which point she takes out the red paper heart that she’d kept and holds it open over her heart. Ahhh. This is the point where the abbess prolongs her speech long after everyone else has gone inside the abbey. The final exchanges between the pairs of brothers were fine, and then they rounded the whole thing off with more music before their much deserved applause.

All the performances were absolutely splendid, and the comic business was tremendously inventive. It’s a good job Steve and I are flexible in our approach to Shakespeare performances; it means we can get the most out of such diverse versions of the same play. I was also aware of how well this group of actors worked together, a benefit of the ensemble philosophy. Long may it continue.

© 2011 Sheila Evans at

Comedy of Errors – March 2011


By: William Shakespeare

Directed by: Andrew Hilton

Company: Shakespeare At The Tobacco Factory

Venue: Tobacco Factory

Date: 31st March 2011

This was about as perfect as a production of this play could be. When we were chatting this afternoon to the mechanic who was changing our tyre (long story) about the Tobacco Factory and the news that it was to receive funding from the Arts Council, we commented that with such a basic space to work in, all they could do was put on the actual play. Tonight this came true in such an amazing way that I felt I was watching the piece for the first time. Many lines of dialogue were completely new to me, and although there had to be some cuts to bring it in at just over two hours including an interval, the main sacrifice was the comedy business added in by most productions, and none the worse for that. In fact, there were some classic pieces of business that had us all in stitches, but I’ll come to those later.

The set was, as usual, simple. Each pillar had a lantern hanging by it, and two of the pillars had bench seats, the ones along our diagonal. In the far corner was a piano, and music was provided by this and a violinist. There were solid wooden doors with studs in various entranceways, and the usual furnishings came on and off as needed, though the opening scene was unusually set in the Duke’s office, complete with desk, several chairs, and a secretary taking copious amounts of shorthand. Egeon’s tale was as moving as any I’ve seen, and the Duke’s reactions the most compassionate.

The introduction of Antipholus of Syracuse and his Dromio (A/S and D/S) was very well done. I hadn’t understood before the captain’s warning about the dangers to Syracusan merchants, and I was very aware this time that A/S’s confidence that his Dromio would never rob him, disappears very quickly under the slightest provocation. The rest of the introductory scenes worked very well, and it was not only clear who was who, but the characters themselves were beautifully drawn, from the seductive courtesan to the fawning goldsmith.

As the comic misunderstandings build through the first half, there were a couple of major laughs. Firstly, when Antipholus of Ephesus (A/E) tells his Dromio to knock on the door of his own house, the party are standing in the entranceway to our left, and Dromio simply mimes knocking on a door with sound effects being supplied from offstage. A/E takes over the knocking, and has several goes, but they include a (surely planned) mistake, with a knocking sound coming after A/E has finished. Both he and his friend look puzzled as to where this knocking sound could have come from, while the audience were all having a good laugh. The second occasion was D/S’s marvellous delivery of the line “Oh sir, I did not look so low”. Impossible to describe, sadly.

In the second half, we get the full set of characters, including the doctor, whose whitened face also caused much mirth when he commented that he could see A/E and D/E were mad by their white faces. The officer was wonderfully nervous about asserting his authority when A/E is being put in a straitjacket, and Adriana’s explanation to the Duke when she’s asking for redress was amazingly clear, given that she rushed through it at increasing speed. Of course, we know what’s happened, so it’s nice she didn’t dawdle, and they made good comic use of it as well.

Even though we have seen it all ourselves, I was very aware that the characters haven’t, and in particular, I recognised that A/E and D/E don’t actually know they have twin brothers, hence their confusion. Of course, there’s no excuse for the other two, whose whole trip is ostensibly to find the missing twins, but then we wouldn’t have the comedy if they weren’t incredibly slow on the uptake. So for this production, in the closing scenes, A/S is hugging everybody with great enthusiasm, while A/E is a bit wary at first. He does, after all, have to come to terms with a new father, new brother, new mother, and a twin to his servant. It worked very well, and by their final exit, he was ready to put his arm round his brother and head for the feast.

Two more pieces of staging really stood out for me, both in the final scene. One was when A/S, now revealed as a single man, approaches Luciana to reaffirm his earlier protestations of love. He had to hold it for a good long while though, as Luciana, with impeccable comic timing, had grasped the situation and whipped off her spinsterish spectacles before you could say ‘Specsavers’! The other thing I liked, especially as I was very moist about the eyes by this time (reunion scenes always affect me that way), was that the Abbess was herself in tears, tears of joy as she welcomed the family she thought lost so many years ago. Of course, she’s the one who passed on the thick-as-two-short-planks gene to A/S. We know this, because despite the most obvious appearance in front of her of two sets of twins, she seems genuinely perplexed by the question of what happened to her Antipholus and Dromio! Get a grip, woman. Still, it all adds to the fun.

There were also a couple of songs in this production, which I don’t remember from earlier versions. Each Dromio sings one, D/S when he and his Antipholus first arrive at Ephesus, and the other by D/E (assisted by his brother) at the start of the second half. With the concentration on dialogue, both Dromios came across as more witty than normal, and I could really see what A/S meant about how his Dromio cheered him up when he was a bit moody. All of the characters came across as more 3-D in fact, with both ‘good’ and ‘bad’ points. Adriana is certainly too shrewish, but her jealously is not delusional. Luciana was played as a prim spinster, and I suspect Adriana’s point about how Luciana would complain just as much if she had the same experiences, was totally valid. The casting was good, too, with both sets of twins having a strong resemblance.

This was an absolutely classic version of this play, which I’m very glad we got here in time to see.

© 2011 Sheila Evans at

Comedy Of Errors – YPS – September 2006

Experience: 8/10

By William Shakespeare

Directed by Elizabeth Freestone

Company: Royal Welsh College of Music and Drama

Venue: Swan Theatre

Date: Wednesday 13th September 2006

This was a very good production, with excellent staging and a well-edited text. The performance began with all the cast coming on stage in two files, with the Duke and a blindfolded Egeon at the back. The rest of the cast formed up in two rows at the front of the stage, and all were carrying rifles. They turned, raised the rifles, and knelt down, preparing to fire. The Duke, at the last minute, asks Egeon for his story (removing the blindfold as he does so), and as he tells it, the firing squad get so caught up that they gradually lower their rifles, and just listen. Egeon’s tale, though edited, still covers the salient points, and but for the rampant coughing from the audience, would have been very moving. Incidentally, to make ends meet on this long quest, Egeon has apparently taken painting and decorating jobs – his sleeves and the bottoms of his trousers were covered in white paint.

I really enjoyed this opening sequence. The firing squad gave it immediacy, a real sense of danger. The Duke, while chatting to Egeon, is perilously close to getting shot himself – just one twitchy trigger finger… This staging emphasises the Duke’s clemency, giving Egeon till sunset to find some way of paying the fine.

As the various characters leave, one soldier remains, and becomes Antipholus of Syracuse (A/S). Slinging his rifle over his shoulder, he sends Dromio off to the Centaur, and both he and Dromio share any relevant lines of the missing merchant.

A/S’s opening soliloquy, “He that commands me to mine own content…”, was very well done. The gestures used were moving, and repeated at the end to close the piece (although this could probably have been dropped, as the audience were ready to applaud as soon as the Dromios left the stage). I got a sense of someone who’d been searching so long and so desperately that he no longer expected to find what he was seeking – which explains why neither he nor his Dromio twig what’s going on.

Dromio of Syracuse (D/S) then returns, and the real comic business begins. Good comic timing from both sets of twins made this very enjoyable. When Adriana first arrives and addresses A/S as her husband, his look of amazement was a joy to behold. D/S just pats him on the shoulder as if to say ‘you’re on your own, mate’, and sits out most of the discussion. Adriana is, as usual, pretty intimate with the man she believes to be her husband. On the line “Am I in earth, in heaven or in hell” A/S indicates Dromio, Luciana and Adriana in turn.

The set: it’s still the Much Ado set, but without the rubble all over the floor. White cloth at the back, various pallets arranged round the stage, higher at the back. Back left, on an angle, sat a chest (holds the money Adriana gives D/S to redeem her husband), and one pallet came half-way across the front, and doubled as a door for both Antipholus’s house and the abbey. Part of the pallet hinged up, and was held in place by a rope. The costumes were all various shades of blue, with a tie-dye/ washed out effect. Both Dromios had bright blue hair, and the women wore underskirt hoops on the top of normal skirts – why?

The advantage of having two sets of twins (instead of doubling) is that the scenes they’re both in are easier to do. When Antipholus of Ephesus (A/E) arrives home for lunch, it becomes very clear he’s got a temper, and a pretty violent one at that. With the pallet-door, there are lots of gaps, through which guns, bars, etc. are thrust, giving D/S plenty of opportunity for ducking and diving.

The wooing scene after lunch was well-edited, and we got D/S’s descriptions of his (un)intended in full, but at a fair lick. D/S arrived for this scene at full tilt, with his trousers round his knees – evidently the kitchen wench doesn’t mean to wait till the wedding night for a piece of her betrothed! Next there’s a lovely piece of action with the goldsmith and the chain. When A/S, on receiving the chain, urges the goldsmith to take his money now, in case he never gets it, the goldsmith takes out his pocket book, thumbs to the right page, and starts to work out how much he’s owed. This takes a short while. In the meantime, A/S has said his lines and leaves to find D/S. The merchant, just missing him as he leaves, turns and sees A/E walking towards him from a different direction. Without batting an eye (they must be used to this sort of stuff in Ephesus), the goldsmith immediately tells A/E how much the chain costs, and then the confusion tumbles on through the arrival of a merchant (Balthazar) and the officer, so that A/E is bound and carted off before he knows what’s happening. Sending D/E off to get a rope’s end has been squeezed in here – normally it’s at the beginning of A/E’s entrance – but overall it’s a lovely piece of editing and staging.

D/S comes back to tell him there’s a ship about to leave, and stands bemused by what’s going on – not the scene he expected. He takes his time before heading back to Adriana, reluctant to see his fiancée again. After D/S gets the money, we see A/S even more bewildered – people are greeting him, giving him things, measuring him up for a suit, and still he doesn’t twig. He and D/S become even more panic-stricken when the courtesan arrives, and demands the chain she’s been promised. Off they flee, so that A/E can come on again to be suitably angry with D/E, who’s returned with the rope. Lots of physical stuff now, as the officer has to forcibly restrain A/E from attacking D/E. They really did throw themselves around, this lot.

More good editing – no Pinch to contend with. Luciana speaks any of his lines that are needed, and has some great business in the process. As A/E is seriously agitated by this time, the officer has him at gunpoint. As Luciana goes towards him, he makes to lunge at her, and she steps back, shoves the officer out of the way, and grabs his gun. After brandishing it rather wildly (everybody ducks as she swings it round), they get A/E and D/E tied up, and march them off to Adriana’s. The officer’s line “He is my prisoner…” was delivered very well, showing the officer’s nervousness.

From here, it’s pretty straightforward to the end, and all the reunions. At the very end, after the Dromios have left the stage, A/S re-enters, and stands, repeating the gesture with his hands that marked one drop of water seeking another in the ocean. Nicely done, but as I said before, this could probably be dropped.

The trouble with trying to describe such a lively and inventive production is that the description always falls far short. Much of the humour was in the business and in the reading of the lines. I would happily see this one again.

© 2006 Sheila Evans at