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Lawsy, lawsy, I do love me a favorable review

So here, have FOUR. And a couple of photos (copyright Jill Ritter):






The Comedy of Errors

The Comedy of Errors is so funny you'll have to pee
By Paul Friswold of The Riverfront Times
Published: March 12, 2008

Speaking of comedy of errors, what do you do when it's opening night and there's a flood in the theater? Wait, don't answer — it gets worse. Fortunately, about twenty minutes before curtain, the water is shut off, which stops the flooding. But now the restrooms are out of order. But the show must go on! And it does, preceded by a brief explanation and directions to the nearest restroom.

It's not until midway through the first act that we discover that a wet/dry vacuum being used backstage emits an immediately recognizable and annoying whine that is not only audible in the theater, but is almost strong enough to overpower Luciana's voice. But Laura Coppinger is a trouper, and she ups the ante to compete with the unseen machine — and not even the smallest flicker of annoyance shows on her face, nor on that of Mark Kelley, who is quite occupied playing the smitten Antipholus of Syracuse.

The vacuum intrudes several more times during the show, but St. Louis Shakespeare's production of The Comedy of Errors never pauses in its headlong flight. Louder, more raucous and more frenetic than faulty plumbing or acts of God, this Comedy is a dazzling testament to the power of dirty jokes, pell-mell chase scenes and slapstick physical comedy to overcome life's frequent obstacles — onstage or off.

The plot is a welter of mistaken identities: Twin brothers separated at birth, both named Antipholus, end up in the city of Ephesus. Both have servants named Dromio (also twins). Antipholus of Ephesus is married to Adriana, a vulpine woman with a quick temper and quicker tongue. Her sister, Luciana, is not quite so quick. Adriana frequently mistakes Antipholus of Syracuse for her own husband, and he is consistently paired with the wrong Dromio, which leads to confusing two-sided conversations, half-baked escape schemes and wholly inappropriate seduction attempts.

Director Donna Northcott amplifies all of this confusion with constant motion. Characters run, leap, dodge and pratfall across the stage, both in the foreground and background. (Pay attention to everyone onstage and you'll be rewarded.) Mark Kelley plays Antipholus with a rubbery grace, bending and bouncing through scenes. When surprised (i.e., often), Kelley blurts out a nervous yelp that doubles as a starter's pistol for the rest of the cast. His Dromio, Cody Proctor, is sly and opportunistic: Notice him cop a quick feel on Adriana when she embraces the wrong Antipholus. Proctor has the best jokes — farts and fat women are specialties — and he delivers them with devastating timing.

Coppinger's Luciana is appropriately daffy and completely charming. When her brother-in-law Antipholus (not really) seduces her, she submits with coos and giggles, then shrieks and recoils, albeit reluctantly. As her much less bubbly sister Adriana, Carol Rose argues sharply against the bonds of marriage in response to Luciana's romanticized ramblings. Rose plays Adriana as a woman to be ignored at your peril, and her Antipholus knows it.

The second act is longer than the first but flies by in seemingly half the time. The pace is frantic, the characters more exasperated, the action constant. The payoff comes in the form of a kaleidoscopic chase involving the whole cast (Amanda Handle's jewel-like costumes enhance the effect), which is comically and violently ended by Adam Thenhaus' burly nurse in drag.

Come hell or high water, Shakespeare always ends well with a man in drag. And the show will be even better without the vacuum.
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The Comedy of Errors
Reviewed by Mark Bretz
The Ladue News- 03/13/2008

Story: Mistaken identities are at the crux of this broad Shakespearean comedy that features not one but two pairs of identical twins. Antipholus of Syracuse and his servant Dromio travel to Ephesus in search of the long-lost twin of Antipholus. That man happens to be named Antipholus of Ephesus and also happens to have a servant named Dromio who, you guessed it, is an identical twin of the other Dromio. When the Syracusean Antipholus meets and falls in love with an Ephesian woman named Luciana, further complications abound, as Luciana’s sister Adriana is the wife of the Ephesian Antipholus, and thus she is appalled at the actions of the man she believes is her brother-in-law. Meanwhile, the Syracusean Antipholus’ father, Aegeon, is being held prisoner in Ephesus, where he also has traveled in search of his long-lost wife and other son. All’s well in the end, though, as this is a Bard comedy, so happy endings abound.

Highlights: This is never for me an easy work to follow, but director Donna Northcott’s production is as fine and frothy a concoction as you’re likely to see. Everything moves briskly and the two acts are neatly tied in a clever little package that consumes less than two hours while keeping the presentation at the high end of the entertainment meter.

Costumes by Amanda Handle place the setting somewhere in the 19th century, with Aegeon in an Italian suit while the Ephesians are adorned in more traditional Turkish attire. The lean set by Sean Savoie emphasizes a series of columns that freely allow for smooth entrances and exits and the crisp lighting is provided by Jim Davis. Shawn Bell’s lively sound design greatly enhances the proceedings, suitably reflecting both the up-tempo plot and the Middle Eastern setting, giving it the feel of a bazaar.

Standout performances are contributed by Mark Kelley and Cody Proctor as Antipholus of Syracuse and Dromio of Syracuse, respectively, with Cody Proctor an engaging comedian throughout. Jared Nell brings an amusing physical schtick to Angelo the goldsmith, while Carol Rose and Laura Coppinger are engaging as the high-handed Adriana and her eager sister Luciana.

Other Info: The supporting cast includes Robert Ashton as Aegeon, Donna Postel as the abbess Aemelia, and M. Michael Kelley and Logan Proctor as Antipholus of Ephesus and his servant Dromio, respectively. Others in smaller roles are Ethan Jones, Jaysen Cryer, Marc Macormic, Lee Osorio, Adam Thenhaus, George Johnson, Kimberly Sansone, Lori Davis and Liz Hennnig.

Rating: A 4 on a scale of 1-to-5

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The Comedy of Errors
Reviewed by Andrea Braun
KDHX Radio - 03/08/2008

Comedy of Errors is the only one of Shakespeare's comedies that has the word "comedy" in its title. But Will doesn't have to tell us it's funny when Donna Northcott is in the driver's seat. There are several standout performances, but the director is the unseen star of this charming farce.
Shakespeare's oft-used device of mistaken identity requires even more suspension of disbelief than usual. At least those taken for each other are the same gender and are, in fact, two pairs of identical twins, Antipholus of Syracuse and Antipholus of Ephesus, and their servants, both called Dromio. Mark Kelley and M. Michael Kelley, and Cody Proctor and Logan Proctor receive program credit for the portrayals. Northcott inserts a moment where the Syracusans swap their vaguely Edwardian clothing for colorful African dress which just "happens" to be exactly the same as that worn by their Ephesian doubles. The coincidence is still preposterous, but at least a bit less so than it might be.

The Ephesians wear a riot of color and a mixture of styles in their (mostly) African inspired garb. The incidental music is insistently and contagiously percussive as it enhances the frenetic pace of the action. This is a short play, and Northcott zips through it so quickly that there isn't really time to ponder the unlikelihood of it all. And her actors rise to the challenge of speaking Shakespeare's lines quickly and clearly, at least most of the time.

The Antpholi and Dromios are hilarious, especially Dromio, but he has an advantage because his lines are funnier. One of his speeches has to be the inspiration for the witch burning scene in Monty Python and the Holy Grail. Marc Macormic's Dr. Pinch reinforces the connection to the Pythons by his appearance and voice: There might be those who would call him. . . Tim. Sorcery and witchcraft are often alluded to, as the confused protagonists try to sort out what's happening to them and why.

Northcott inserts bits of business throughout the show which enhance all the performances, but work especially well with a character like Dromio who is a clown in the first place. When an aside is spoken, Northcott freezes the other actors onstage at the time, and a spot is put on the speaker, an inspired technique. And never have ropes had such a prominent role in a play, as the characters are led by them, entangled by them, and sometimes, at the metaphorical end of them. Part of the plot turns on a gold chain, another symbol of bondage, particularly regarding the constraints of matrimony.

Several of these portrayals can't be classified as "politically correct," and thank goodness for that. Jared Nell is a scene stealer as Angelo, a merchant, an obsequious, sexually ambivalent Harpo Marx type, except he talks. The "good" sister Luciana is played as a ditsy blonde, and the hard working Adam Thenhaus makes the most of three small roles, especially Luce, a kitchen maid who sounds a lot like Rhoda Morgenstern. (His presence is also a nod to the tradition of casting males in female parts.)

The actual females are good too. Carol Rose seems the most comfortable among the entire cast with the convoluted lines, and, as Antiphilus' put-upon wife, is supposed to be shrewish; at least we are told she is by her husband, her sister and the Mother Abbess (Donna Postel) but her complaints actually seem quite reasonable, given the circumstances. Giggly Luciana (Laura Coppinger) is sometimes a bit difficult to understand as she simpers her way through the exaggerated part, but her physical comedy is very funny. There is a slight problem with her silliness, in that she is supposed to be the voice of reason among the fools and jesters; however, possibly Northcott is making the point that a woman who would tell her sister to submit utterly to her husband is a dumb blonde. Aemelia, the Abbess, is so measured in tone, so reasonable in speech, so stereotypical a holy woman that we expect her to break into "Climb Every Mountain" at any moment. Kimberly Sansone is suitably seductive as the "Courtesan," a "friend" to Antipholus of Ephesus and the Duke.

The play opens with the tale of woe of one Aegeon (Robert Ashton), father of the Antipolus twins, who lost his wife and one son at sea when the boys were infants. He saved the other and brought him up in Syracuse. He has come to Ephesus try to find the rest of his family. Unknown to him, his Syracusan son is on the same mission. Aegeon tells his tale in hopes of saving his life, for the Duke of Ephesus (Ethan Jones) has condemned him to death for violating a travel ban between the two cities. This law is also the reason why Antipholus and Dromio of Syracuse disguise themselves as natives. As the brothers are confused with each other and even by each other, hilarity ensues. Of course, all's well that ends well, and the cast and audience exeunt happy.

Sean Savoie has designed a serviceable, traditional set with the three requisite doors. It looks substantial, and depth is added (as well as a sense of the sea) by the proscenium, which is lighted in blue located behind the apron. Jim Davis' lights are hot during the African daylight and bright to enhance the Amanda Handle's inspired costumes' colors as they swirl about on stage. (These characters run around. A lot.) Shawn Bell's sound is just right throughout.

Everyone in the company adds something to the fun. Those not mentioned above include Jaysen Cryer, Lee Osorio, George Johnson, Lori Davis and Liz Henning. They and their cohorts are rockin' the house at the Orthwein Theatre.

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The Comedy of Errors
Reviewed by Judith Newmark
St. Louis Post Dispatch- 03/11/2008

In November, "The Bomb-itty of Errors" was the hit of the Off-Ramp season, a show that Steve Woolf of the Repertory Theatre of St. Louis maintains would still be running if time and space had permitted. They didn't. But it's not too late to see where "Bomb-itty" came from. St. Louis Shakespeare wraps up its 2007-08 season with "The Comedy of Errors," the classic that inspired it.

The story is old — older than Shakespeare, certainly, maybe as old as it gets.

And from the beginning, people no doubt thought the story was stupid.

Two sets of separated-at-birth identical twins find themselves in Ephesus, a Mediterranean city where one master-and-servant twin set lives. The other set, from Syracuse, has just arrived there by boat. They are actually looking for their other halves.

Somehow, it never occurs to them that the strange responses they provoke in people they meet might be connected to the reason that they went traveling in the first place. The Ephesus pair is kind of slow on the uptake, too.

OK, it's a very silly story. Ignore the premise and make the most of the physical comedy and the mix-ups that cram director Donna Northcott's lighthearted production.

When Antipholus of Syracuse (Mark Kelly) finds himself embraced by a pair of strange women — actually his twin's wife and her sister — he grins from ear to ear and holds up two fingers, amazed at what he thinks is a dream come true.

His servant Dromio (Cody Proctor) turns out to be in many ways the star of the show, the initiator or the butt of most of the slapstick gags. There's more good work from Jared Nell as an obsequious goldsmith who made a necklace for one twin and expects the other to pay for it. (It's more involved than that, but there's no sense trying to keep this plot straight.)

Northcott has a big cast in "Comedy." Some of the actors, like Nell, seem so comfortable with Shakespeare's language that they have energy left over to flesh out their characters.

Others, however, are of the "if I talk fast, it will sound as if I always speak this way" school of acting. Some let you hear the way they memorized their roles, pausing at the end of every line. Some are simply hard to understand.

This isn't a plus — but it's much less of a problem in "Comedy" than it would be in a play renowned for its poetry, like "Hamlet" or "Romeo and Juliet." This one is fun even if the edges are a little rough. It's also a family-friendly show, and a good first Shakespeare play for children.

Posted: Mon - March 17, 2008 at 07:18 PM   Home         | | View Technorati reactions

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