Everything about this engaging ensemble piece is so good that it seems invidious to single anything or anyone out… But huge praise must go to the Comedy of Errors director, Sean Holmes, who has drawn such excellent performances from the whole cast, writes Elizabeth Carlin.
After taking in the set, simply laid out with barrels at the back and capstans around the front and sides, nets by the pillars and rather sinister metal helmets on lances stage right, plus having greatly enjoyed the band, pretty in pink, the audience is assaulted by a crowd waving flags and repeatedly chanting Eph-e-sus, Eph-e-sus, powerfully and aggressively.
The Duke(Philip Cumbus) stands at their head waiting for a boat, which to everyone’s surprise and amusement, pushes its way through the groundlings. Two prisoners disembark and one is summarily executed behind a screen. His head rolls and is held high with the expected reaction of amusement and repulsion from the pit. The second prisoner, Egeon(Paul Rider), a merchant from Syracuse – and illegal alien – is invited by the Duke to buy his release. In reply he makes a long speech completely changing the tone and pace, explaining his history. He recalls a shipwreck which separated him from his wife, his twin sons and their twin servants. This is clearly and movingly delivered and this is vital because it explains the confusion on which the play pivots. His story moves the Duke to grant him a day to find one of his sons, whom he believes to be in Ephesus, to get the money to buy his freedom.
The chaos which is about to ensue is illustrated in the following rowdy scene of nonsense, sword fights, general bawdiness(including a nun with a gun), before settling down to the real plot with Antipholus of Syracuse (Michael Elcock) coming centre stage and giving money to his servant Dromio of Syracuse (Jordan Metcalfe). After much humorous repartee, he is sent off with the money to discharge his duty.
So far so good. Then Antipholus of Ephesus (Matthew Broome) arrives on stage with a jeweller and his friend Balthazar and acquires a gold chain. Meanwhile, Adriana(Laura Hanna), is waiting for her husband, Antipholus of Ephesus to come home for dinner. She has her sister Lucians(Jessica Whitehurst) with her. They send Dromio of Ephesus (George Fouracres) to find him. And this is where the trouble starts. Both the Antipholuses and the Dromios are constantly mistaken by each other for the other one. The wrong Antipholus is dragged into dinner by his mistaken wife and the door of the house is barred against the real husband. He storms off to the courtesan (Phoebe Naughton) to whom he gives the chain, originally intended for his wife. And so it goes on.
It is frankly hilarious, and very impressive the way the ensemble works, either moving in sympathy with the action of the main actors or in showing amazement and adding to the confusion. There is some very funny interaction with the audience, a riff on bald heads an hilarious example. The scene when Dr Pinch, (Philip Cumbus) is called to incarcerate Antipholus of Ephesus, as he is believed to be raving, is particularly well done with lots of very funny ensemble business.
The darkness hinted at by the helmets and lances at the side of the stage can be seen in the way both the women and the servants have so little power and the beatings both Dromios receive are, although funny, shocking in the ease and regularity with which they are dispensed
Outside the Priory, in which the Syracusans have sought sanctuary, the denouement builds to revelation. Egeon is to be executed. With nearly everyone now on stage and talking at cross purposes, the two Antipholuses and Dromios come face to face. The Prioress recognises Egeon as her husband and all is resolved amongst great joy.
And finally it has to be said, George Fouracres and Jordan Metcalfe excelled as the Dromios.
Shakespeare’s Globe, 21 New Globe Walk, SE1 9DT until July 29th. Times: 7.30pm; Admission: £5 – £65.
Booking: www.shakespearesglobe.com
