There are lots of Shakespeare plays that I’ve never seen, studied, or read. I’ve heard of people who make a point of saving one Shakespeare play so they have something to look forward to … but it’s usually Troilus and Cressida or Coriolanus, something after Shakespeare was on the way to jumping the shark. Anyway, until this year, I hadn’t watched Comedy of Errors at all. Or studied it, or even read it. But this summer I enjoyed a production of Comedy of Errors in the tent at Shakespeare on the Saskatchewan in Saskatoon, and then I went to the rap adaptation Bomb-itty of Errors directed by Dave Horak at the Edmonton Fringe. And then in October I attended a Comedy of Errors production done by Red Deer College Theatre Performance and Creation students and directed by Jeff Page.
The set visible before the play started hinted at a fantasy setting, with playful pastel triangles painted on a city backdrop and courtyard flooring. Then a drumroll and change in the lightning were followed by solemn standard-bearers and then the solemn entrance of the Duke of Ephesus (Julia van Dam) followed by her frail and bedraggled prisoner, Aegeon (JP Lord). After the long exposition necessary in the first scene, where Aegeon explains about his wife having been lost at sea with one twin son and one twin slave-companion and the Duke explains that although she feels pity for him, she won’t make an exception to the law banning Syracusians, the action speeds up. Antipholus of Syracuse (Jake Tkaczyk) and Dromio of Syracuse (Jen Suter), the bewildered travellers, stumble into a cheerful busy marketplace, with bubbly 1960s-inspired pop music in the background. The costumes too seem to evoke the playful early 1960s, with ice-cream colours, argyle vests, and minidresses. Soon the play’s theme of mistaken identity becomes clear, as various locals confuse the visiting Antipholus and Dromio for their identical-twin namesakes who live in the town, and the local pair (Richard Leurer as Antipholus of Ephesus and Brittany Martyshuk as Dromio of Ephesus) appear alternately with very similar body language and costuming, making the mix-up credible. Leurer and Tkaczyk have almost identical jaw-hanging confused expressions. Adriana, the impatient wife of Antipholus of Ephesus who is waiting the midday meal for her absent husband, is played with irritation and then increasing worry that her husband’s unexplained behaviour might mean that he is unfaithful, by Victoria Day. Adriana’s unmarried sister Luciana (Constance Isaac) has some amusing stage business with high heeled pumps that hurt her feet. Other local characters complicating the plot include Angelo (Tyler Johnson) a pompous prosperous goldsmith with tailored Nehru jacket and walking stick, an unnamed courtesan (Megan Einarson) in gogo boots with some outrageously flirtatious audience interaction, the Duke’s overeager executioner (Wayne De Atley) and the soothsayer Doctor Pinch (Jessie Muir), an odd steampunk cross between a psychotherapist and a psychic. The servant Luce, who horrifies Dromio of Syracuse when she mistakes him for her husband Dromio of Ephesus, is played by Bret Jacobs. Casting Jacobs was an inspired choice for director Jeff Page, since he plays the bossy cook and affectionate wife with hilarious gusto, but also because Dromio of Syracuse’s speech about her being repulsive because she is fat and dark-skinned is both funnier and more acceptable to my modern ears when the character is played by a man. Another aspect of Shakespeare’s tale that made me uncomfortable on reading and on viewing of the previous productions was the way that the Dromio characters are treated by the Antipholus characters who own them/employ them and were raised together with them, with physical beating as well as verbal abuse. Again, a directorial choice in this production made that aspect a little more ridiculous and less disturbing, with most of the beating being done using rolled up newspapers.
The courtesan and her retinue performed an original musical number, Nothing but Love, by Edmonton musician Paul Morgan Donald, in a sort of bubbly sixties pop style. It was fun to watch and listen to, and it is still stuck in my head more than a month later. It didn’t really advance the plot, but that didn’t matter.
As things get more and more confused and messed up for the fellows from Syracuse, I noticed that they became more and more disheveled with every entrance, jackets lost, shirttails untucked, bow tie undone and almost falling off. Their Ephesian twins, more domestic and prosperous, didn’t get quite as unravelled.
And then just before things fall apart completely, the tidy denouement worthy of Gilbert and Sullivan has the twins reuniting, the Abbess (Collette Radau, in full habit and wimple subduing audience and citizens with intimidating facial expressions) declaring herself to be the missing wife of Aegeon, and everyone getting their money and jewellery back.
I was particularly impressed by Julia Van Dam’s performance as the Duke of Ephesus. Her physicality conveyed the character’s undoubted authority, and it was clear in the first scene that the Duke regretted being unable to pardon Aegeon but was unwilling to break the law. She didn’t play the part as a man; the Duke was referred to with female pronouns and this worked just fine.
The next play in the Red Deer College performance series, featuring some of these performers, is a musical adaptation of Lewis Carroll’s Alice Through the Looking Glass, adapted by Jim DeFelice with music by Larry Reese. It opens tomorrow night, Thursday November 21st, at 7:30 pm on the Mainstage at the RDC Arts Centre.
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