 | Comedy of Errors |  |
"It is thyself, mine own self's better part,
Mine eye's clear eye, my dear heart's dearer heart,
My food, my fortune and my sweet hope's aim,
My sole earth's heaven and my heaven's claim." Act III, scene ii
Written: 1593
CAP 21 ; April 12, 2008 New York, USA
Director : Lawrence Arancio ; Starring :
Reviewed on : 2008-04-15 10:23:30 ; Reviewed by : Antonia Mandry
| The Boys of Syracuse, a Rodgers and Hart musical based on The Comedy of Errors is a typical Golden Age musical written in the late 1930s, albeit more risque than what you would see a decade or two later. The musical, with its swing rhythms and tap dancing, takes the story and spirit from Shakespeare, but leaves much of the poetry.
This production, performed by students associated with CAP 21, was in a tiny studio with the audience crowded so close that the performers could and did often touch them (on purpose). A thin curtain separated "backstage" and the set was minimal: a movable door with changeable labels (aka "Goldsmith", "Tailor") and a few pillars that surrounded a slightly raised backstage.
The students themselves, exuberant and energetic, were dressed in simple togas and, in the case of some of the women, Turkish belly-dancer pants and short bustieres. The Sergeant was dressed in Roman legionnaire outfit with a helmet that looked like it could have been a Smurf's hat, if blue.
As a student production, however, set and costumes are usually not the primary focus nor the point. The performances were lovely and heartfelt, with good spirit, commitment and enthusiasm felt in every one. The quality of the singing performances varied, notably with Melanie Dusel as Adriana. It sounded as if Dusel was coming off of a cold as her high notes were a bit strained. Notably entertaining from a softshoe perspective was Craig Fogel as Dromio of Syracuse who reminded me strongly of Daniel O'Connor; Jacob Hoffman as Angelo was also a scream, particularly when he wore a stunning red dress and blonde wig in order to get the attention of the handsome Sergeant. His face has a remarkable range of expressions. The Antipholii were both suitably handsome (Matt Dengler and Kevin Wade) with Dengler's light tenor pleasing. Julia Bray as the Courtesan gave perhaps the most ballsy and brave performance of all: striding with confidence across the stage in a part that could easily have been embarrassing.
Having never seen another production of this particular musical, I am unsure whether the bordello "dance" sequences are part of the original vision. In today's world and with these particular actors, the appropriacy of that scene is called into question. In essence, 5 girls line up in skimpy costumes and shake their "attributes" for an extended dance sequence. I felt like I had stumbled into Playboy 50 years ago and kept waiting for them to take their clothes off. Granted, the characters are prostitutes in a brothel; however, knowing that the actors were young and the audience was probably filled with friends and family, I wondered how comfortable a father would be to see his little girl slink sluttily across the stage. The actors truly committed to the scene and did well with what they had, but I wonder at director Lawrence Arancio and Choreographer James Bulleri's choices for this scene.
It would be unfair to compare this to a professional production, and yet, it would compare favorably in that the energy, commitment and passion the entire cast showed would far outstrip many professionals on Broadway today.
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Sir John Gilbert, R.A.,
Comedy of Errors
Reviews
|  | Royal Shakespeare Company
July 11, 2009 |  | Midsummer Festival
June 27, 2008 | | CAP 21
April 12, 2008 |  | Stratford Festival of Canada
August 4, 2007 |  | Marin Shakespeare Company
September 9, 2006 |  | Shakespeare's Globe Theatre
August 1, 2006 |  | The Shakespeare Festival
July 23, 2006 |  | Chicago Shakespeare Theatre
July 16, 2005 |  | Bomb-Itty of Errors
2002 |  | Shakespeare Repertory
1997 | | BBC
1954 |
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