THE COMEDY OF ERRORS. To 28 January.
London
THE COMEDY OF ERRORS
by William Shakespeare
Novello Theatre To 28 January 2006
Mon-Sat 7.30pm Mat Thu & Sat 2pm
Captioned 19 Jan 7.30pm
Runs 2hr 30min One interval
TICKETS: 0870 609 1110
www.rsc.org.uk
Review: Timothy Ramsden 16 January
No mistakes in this sure-footed RSC revival.
Nancy Meckler’s Royal Shakespeare Company production, arrived briefly at the Novello (ex-Strand) Theatre from the 2005 Stratford-upon-Avon season, makes a decent go of the comedy caused by confusions between master Antipholus and servant Dromio when the pair’s twin brothers arrive all unknown. It’s not the subtlest verse and a lot of the puns the Elizabethans loved have lost their point, but Meckler’s strong cast make up for this in double-takes, reactions and defensive routines against the apparent magical influences the newcomers suspect in the town.
The sails and mast of designer Katrina Lindsay’s set suggest transience - a major lighting change announces the convent, symbol of sanctuary and stability. This aids Meckler’s fluid staging, its scene changes covered by stage business and songs ranging from an Elizabethan Chidiock Tichbourne-like lament to “It Takes 2 to Tango”.
Meanwhile Meckler’s exposing a heart in the play that’s more than the fast-tick of a racing plot. If this is a feminist account, then it’s about time. The 2 main women, Adriana, wife to Antipholus of Ephesus who entertains strangers unaware they’re not her husband and his servant, and her single sister Luciana, play a fuller role than in most productions. No longer foils to the men’s mistakings, they acquire a distinct individuality which enhances the play no end.
It’s there in doll-like, pure white Luciana. Her romantic view of marriage, spoken from inexperience with a composure only disturbed when she turns away from the table to talk shyly about sex (ok, “troubles of the marriage-bed”), has a smilingly glacial unreality in Sinead Keenan’s performance.
Which beautifully contrasts Suzanne Burden’s Adriana. Her physical agitation, the edgy sliding of her body into the (wrong) Antipholus and her protectiveness when she sees her husband in danger point up this woman’s capacity for love and remind that, even before the twins arrive, she’s not married to a model of sexual fidelity.
Add the Antipholus’ laddish greetings on eventually meeting, the similarly emotion-avoiding gestures accompanying the Dromio’s final statement on brotherhood and Richard Cordery’s sympathetic father and here’s a comedy that’s clear-sighted on all the family.
Antipholus of Ephesus: Christopher Colquhoun
Dromio of Ephesus: Forbes Masson
Adriana: Suzanne Burden
Luciana: Sinead Keenan
Luce: Bettrys Jones
Messenger: Kevin Trainor
Egeon: Richard Cordery
Antipholus of Syracuse: Joe Dixon
Dromio of Syracuse: Jonathan Slinger
Emilia: Francis Jeater
Solinus: Neil McKinven
1st Merchant: Christopher Robert
2nd Merchant: Christopher Obi
Angelo: Oscar Pearce
Balthasar: Geoffrey Lumb
Courtesan: Diveen Henry
Dr Pinch: Tom Hodgkins
Pinch’sAssistant: Alice Barclay
Officer: Eke Chukwu
Puppeteer: Stewart W Fraser
Director: Nancy Meckler
Designer: Katrina Lindsay
Lighting: Tim Mitchell
Sound: Andrea J Cox
Music: Ilona Sekacz
Movcement: Liz Ranken
Puppetry Director: Mervyn Millar
Fight director: Malcolm Ranson
Chorus work: Clive Mendus
Company voice work: Charmian Gradwell, Jacquie Crago
Assistant director: Phillip Breen
2006-01-18 11:28:31