‘Comedy of Errors’ is a Big, Joyous Bear Hug
Director Simon Godwin and this top-notch cast are out to give a warm and lovely embrace to everyone with "Comedy of Errors."
Like a love letter to the audience, everything about the Shakespeare Theatre Company’s unabashedly joyous and funny Comedy of Errors says, “We’re glad you’re here.” You will be entertained as if adored, yelled at with affection, and there will be no need to actually follow Shakespeare’s ridiculously convoluted shenanigans surrounding the reuniting of two sets of separated twins, although a pre-curtain read of the synopsis will help.
Even better, you will be treated to Shakespeare delivered with a kind of natural energy, meaning you don’t have to be a die-hard fan of the Bard to fully understand the gist of what’s being said and why. Put simply, director Simon Godwin and this top-notch cast are out to give a warm and lovely embrace to anyone and everyone — and that’s a lot harder than it looks.
Going for accessibility right out of the gate, Godwin opts for a flash-forward to the 1990s, cleverly predating cell phones (whose use would instantly thwart any “errors”) and allowing for a relatable vibe that invites everything from funky interludes to wittily-adapted asides. Scenic designer Ceci Calf nods to the old world with her colorfully-faded Mediterranean port with harbored boat and balconies, but her details lean toward cutely contemporary — and often rubbery — kitsch.
When the actors arrive in Alejo Vietti’s retro fashions, it makes for an amusing contrast. Is it as magical as Round House’s 2022 sea chanty of a Tempest? Not quite. But with a remit to please a very wide crowd, this fits the salty bill. And once the rapidly moving parts and people take hold, Godwin brings not just vision, but choreography to the whirlwind, doing a stellar job of keeping the focus where it needs to be.
Without question, the heart of this production beats with the crazy manservant duo, Alex Brightman’s Dromio of Syracuse and David Fynn’s Dromio of Ephesus, each serving a noble separated twin. Carrying the lion’s share of laughs, Brightman and Fynn are each so ridiculously full-bore comical it is almost impossible to prefer one over the other, but together they almost steal the show.
Credit goes to Godwin for some powerful guardrails and a strong sensibility: these two are crowd-pleasingly, bring-your-maiden-aunt funny, but they also offer plenty for the cohort fully in touch with their immaturity. They are why this Comedy of Errors feels so endearingly in love with its audience: their goal is your giggle, and they’ll risk an aneurism to get it. Amazingly, both Fynn and Brightman also happen to have a sensational comfort with the language, seamlessly weaving it in and around the hijinks.
As for that noble set of twins, Ralph Adriel Johnson’s Antipholus of Ephesus and Christian Thompson’s Antipholus of Syracuse each deliver suitably charismatic counterpoints to their clowning servants. Johnson plays a strong foil, giving his man a certain outrage that nicely revs up the energy as he finds himself locked out of his port-side house by his wife Adriana, who is mistakenly “lunching” with his confused but amenable twin.
As the newly-arrived Syracusan Antipholus who is so quickly absorbed into the port’s intrigues, Thompson is highly watchable if slightly uneven, exuding a sincerity that keeps the drama’s tension on track. As Adriana, Shayvawn Webster offers an appropriately affronted aura, playing it for keeps.
Part of the delight here are the smaller roles that shine and those that bring the edgier fun. Standouts are Ro Boddie, who gives his Balthasar a ridiculous quotient of main-character energy and fantastic facility with the language (let’s hope he has a Shakespearean lead in his future), and the always-brilliant Eric Hissom making the most of the highly dubious doctor Pinch.
As Luciana, Cloteal L. Horne delivers a thoroughly contemporary woman with a mindboggling ability to make her Shakespeare sound conversational, while Kimberly Dodson is pitch-perfect as take-no-prisoners vamp Thaisa. As the twins’ long-lost father, Egeon, Timothy D. Stickney brings warmth and quiet grandeur, while Amanda Naughton offers a charmingly witty turn as long-lost wife Emilia.
Finally, for those who shrivel at the prospect of adding modern music to Shakespeare, be warned that, yes, there is plenty here. But the good news is that it’s brief, often funny, and much of it is delivered live on stage by a smattering of post-punkish musicians who generally add to the ambiance (and occasionally take a role).
The finale may be styled as a big ole’ crazy musical number, but it defies becoming corny by feeling like a genuinely fond farewell. In a world where so many of life’s entertainments — and even connections — are simulated through screens and soundbites, Comedy of Errors is nothing short of a big, joyous bear hug.
Comedy of Errors (★★★★★) has been extended through Oct. 20 at the Klein Theater, 450 7th St. NW. Call 202-547-1122 or visit www.shakespearetheatre.org.
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