REVIEW: The Comedy of Errors

Stepping into Shakespeare’s Globe Theatre always feels like entering another world. As you leave behind the noise and modernity of the Southbank, there’s a palpable shift in atmosphere. It’s as if the very air changes, transporting you back in time. The recent production of The Comedy of Errors, directed by Sean Holmes with Naeem Hayat, masterfully captures this transformative experience. The evening began with a performance by the small band of musicians, enhancing the already vibrant atmosphere. It’s these small yet significant touches that make every visit to the Globe feel like a special occasion.

Holmes and Hayat have chosen to present The Comedy of Errors in a delightfully traditional style, with Elizabethan costumes designed by Paul Wills that bring an authentic feel to the production. The setting, while nominally in ancient Ephesus, feels very much like Elizabethan London. There’s something about the period attire that immediately grounds the audience in the world of Shakespeare, without the need for modern tricks. 

The entire cast gives remarkable performances. Daniel Adeosun, Celeb Roberts, Sam Swann, and Martin Quinn skilfully bring the twin pairs of Antipholus and Dromio to life. Adeosun, as Antipholus of Syracuse, portrays his character’s confusion with exaggerated facial expressions that are both entertaining and expressive. He almost makes the audience believe he is trapped in a world of witches and fairies.  Roberts, on the other hand, plays Antipholus of Ephesus with an angry demeanour that stands in contrast to his brother’s bewilderment. Swann and Quinn, as the Dromio twins, are equally impressive. They each utilize their unique regional accents to distinguish their characters, delivering a mix of humour and warmth that combines slapstick with touching moments. Gabrielle Brooks and Shalisha James-Davis also excel in their roles as Adriana and Luciana Christopher Logan’s Angelo, the bewildered goldsmith, and Danielle Philips’ larger-than-life performances as Luce and the Second Merchant add further layers of humour to the production. Anita Reynolds as the Abbess brings a surprising note of poignancy to the otherwise happy-go-lucky finale.

The directors’ choice to keep the pace alert, with no interval, ensures the energy levels never go down, though this frenetic style can sometimes border on hysteria. It sometimes risks overshadowing Shakespeare’s language.  On several occasions, the actors break the fourth wall, acknowledging the audience directly. These moments were cleverly integrated and added to the communal atmosphere of the performance, reminding us that in Shakespeare’s time, the Globe was as much a social gathering as it was a theatrical event.

This production directly addresses some of the more challenging themes in Shakespeare’s text, like misogyny and racism, without altering or avoiding them. Instead, it uses humour to spotlight these moments, making them both thought-provoking and funny. It’s a tricky line to walk, but the performance manages it extremely well. By exaggerating these elements to the point of near farce, the show offers an honest portrayal that encouraged the audience to think critically about the text, while still relishing the slapstick and absurdity that makes The Comedy of Errors so entertaining.

In conclusion, this production of The Comedy of Errors is an experience not to be missed. It’s a celebration of Shakespeare’s comedic genius, brought to life with energy, humour, and a dash of the absurd. Whether you’re a seasoned Shakespeare connoisseur or a newcomer to his work, this play offers something for everyone. The Globe remains a magical place to experience theatre, and this production is a testament to its enduring appeal.