Gap-year cast give Ska-infused Comedy of Errors a fresh, funny and energetic take at Dream Factory, Warwick
The Comedy of Errors, The Dream Factory, Warwick, until 8th June
“Tragedy is easy, comedy is hard,” said no-one whatsoever. No matter. The oft-repeated apocryphal quote, attributed to actor Edmund Gwenn speaking on his deathbed, is actually “Dying is easy, comedy is hard.” Not for this lot it ain’t. They revel in it.
The Comedy Of Errors, reputedly one of Shakespeare’s earliest plays, is the final hurrah from the Blue Rider Group, Playbox Theatre’s company of gap year actors, and the directorial debut of BRG’s Mery Sutherland, 19. It’s a farce and she pitches it perfectly farcical. While modern productions can labour to prove the bard is still relevant, the audience abandoned as an afterthought, this one’s played for our sheer enjoyment., circus-like for thrills and spills, a slapstick spectacular to deliver truckloads of smiles.
Sutherland has choreographed the action to 2-Tone, the musical movement that exploded from Coventry and electrified the early 1980s with ska. We get The Specials, Selecter, The Beat etc. and it’s an inspired choice that gets the heart pumping, well suited (and booted) to the frenetic storyline, not so much fast-paced as hyper-exhilarated. Having it very, very large.
We are ushered in to the honking of Madness’ Night Boat To Cairo and within a trice confusion reigns. The play’s perpetrated by mistaken identity – two sets of twins, the Antipholuses and their servants, the Dromios - separated soon after birth and now unknowingly chanced back together to cultivate mayhem. The entire cast are clown-faced which mightily benefits the chaos and encourages the actors to play their parts with the broadest of strokes. Quillan Mitchell is the bro’ just arrived from Syracuse, endlessly amazed and freaked out that everyone seems to know him. Ottile Lampitt is his Dromio, spooked and highly strung. Nathanael Saleh is the incumbent Antipholus, enraged beyond his wits’ end. He’s attended by Elliott Barlow’s other Dromio, superbly put-upon to the point of giving up the ghost. Jennie Beattie’s Adriana, frustrated wife of Saleh’s Ant, lets fly marvelously while her sis, Celine Delahaye’s Luciana, failing to make any sense of it all, takes comfort in a bunch of grapes.
It may be a jumbled-up riot of he-being-not-the-right-him but the cast keep us on course with a series of sprinkled, canny asides, seemingly off-the cuff and improv-ed. There are really no peaks and troughs, just peaks and no let-up but personal faves are the prison scene set behind balloon bars, Elysia Sully’s crazy turn as the exorcist Pinch, Esme Fleeman wearing the sad face so well, the bit with the cat door, Az Palta bringing the sizzle as the courtesan, Phoebe Roberts’ handcuffed Angelo getting their pockets picked, the multiple biffings on the ‘onker, and the hilariously calming arrival of Jess Kaijaks’ abbess. Plus, who knew breaching the fourth wall with furniture removal could be so much fun. There’s not an opportunity missed to amp-up the hysteria. It’s truly amazing how they generate so much exaggerated energy in such a small space without the whole place caving in.
This is an ensemble which has gelled tightly and thrived across a year, each supporting the other to shine. Tonight, they all brought their very best game. The Bard rejuvenated. A joyous triumph.
Shakespeare will be skanking in his grave.
When and where: The reviewer saw the show was performed in the Studio, but there will be two outdoor showings this Friday, 7pm, and Sunday, 3pm. Book at www.playboxtheatre.com.
