GMF Digital Events
The Greater Manchester Fringe continues throughout September, and I’m continuing to review shows from this year’s programme on this blog and on North Manchester FM. Although most of the shows at this year’s festival are live and in-person, there is a selection of digital events as well. On Wednesday 15th September, I watched one of these digital productions: a bilingual English-Italian production of Shakespeare’s The Comedy of Errors (or La Commedia degli Errori) by The Blind Cupid Shakespeare Company. The radio version of my review will be going out on the Hannah’s Bookshelf GM Fringe Reviews Special on Tuesday 21st September, but here’s the blog version…
The Comedy of Errors is not one of Shakespeare’s best-known plays, and it’s not produced as regularly as some of his other plays. It’s one of Shakespeare’s earliest plays, and it’s shorter and more farcical than his later works. I have to admit, I had reservations about how this was going to work as a digital production. The comedy in The Comedy of Errors comes from an increasingly frenetic double mistaken identity plot, involving two sets of identical twins and a large amount of slapstick. I wasn’t sure whether it would be possible to do justice to this on a Zoom-style digital performance.
I think I probably should have had more faith in The Blind Cupid Shakespeare Company!
The performance begins with the cast and crew assembling on a video chat in preparation to travel to the US for a performance. However, last-minute Covid restrictions mean that they aren’t going to be able to travel after all – the show will have to go online.
It’s a nice little introduction, setting the scene for a production that will be entirely online with the performers acting their parts in separation. Admittedly – and this is a really strange thing to say! – but a couple of the Zoom jokes (someone forgetting to unmute, someone else accidentally putting up an embarrassing background) actually felt a little dated. I guess that type of humour is so 2020 now. However, the ‘comedy of errors’ (lower-case) of getting the show up-and-running, from the cancelled US trip to the awkwardness of group video conferencing, felt very fitting for Shakespeare’s play. It reminded me that The Comedy of Errors was first performed in 1594, just as London’s theatres were reopening after a series of plague-related closures. This is a very apt play to watch as we tentatively return to the world of live theatre.
The Blind Cupid Shakespeare Company offer an excellent adaptation of Shakespeare’s play of twins (two sets) separated at birth and then accidentally reunited… with hilarious consequences. The play opens with an elderly merchant of Syracuse (Egeon, played here by Stephano Guerriero) arriving in the Greek city of Ephesus. Due to a prohibitive law, he is immediately arrested and sentenced to execution. In his own defence, he recounts a sad story (in Italian): Egeon and his wife had twin sons, and they also purchased the twin sons of a poor woman in the town to serve as their bondsmen. When disaster struck, and the family were in a shipwreck, Egeon was rescued with one son and one slave, and his wife Emilia was rescued with the other son and the other slave. Both sons are raised by their respective parents and are called Antipholus; both slaves stay with their respective owners and are called Dromio. (And if you think that sounds confusing, it’s only the beginning.)
Shakespeare’s comedy is notable for its unity of time and place. Unlike many of his other comedies, it takes place in a single location and over a period of just one day. The confusion ramps up a notch as we meet Antipholus of Syracuse (played by Gianluigi Calvani), arriving in Ephesus and charging Dromio of Syracuse (played by Alice Lussiana Parente) with taking some money to a local inn. Shortly afterwards, he runs into Dromio of Ephesus (played by Alice Lussiana Parente) and is confused when the slave denies any knowledge of the money, believing that the man is his master Antipholus of Ephesus (played by Gianluigi Calvani). Phew.
The company handles this manic confusion in an impressive way. The pseudo-Zoom set-up actually works in their favour, as it allows the actors to appear on screen together for the final reconciliation scenes. Similarly, the bilingual nature of the play, with the characters from Syracuse occasionally switching to Italian when conversing with one another, helps to keep some sense of distinction between the two Antipholuses and the two Dromios.
Praise has to be given to the actors, of course. Although the Antipholuses and the Dromios are each dressed differently, both Calvani and Parente also imbue their two characters with different personalities, styles and physical performances. It becomes relatively easy to distinguish between the confident, slightly swaggering Antipholus of Ephesus and his more excitable, romantic brother. Similarly, Dromio of Syracuse bounces and dances in each of his scenes, in contrast to his somewhat more browbeaten and hen-pecked brother.
I enjoyed all of the performances here. Gilda Mercado is arresting as Adriana, the baffled and furious wife of Antipholus of Ephesus, who believes her husband is either committing a cruel deception or, perhaps, is possessed by evil spirits. Elize Layton offers strong support as Adriana’s sister Luciana, who believes her brother-in-law has randomly started flirting with her (spoiler alert… it was his twin all along!). Ginerva Tortora convinces as an angry goldsmith who believes Antipholus is trying to obtain goods without paying, and Muge Karagulle makes a late appearance as the Lady Abbess who might be more significant than we first realize.
In true Shakespearean tradition, some actors double (or rather triple) up on parts (and not because they are playing twins). Frances Knight appears in a variety of roles, but perhaps most memorably as Nell, the kitchen-maid wife of Dromio of Ephesus, who is described in rather unflattering terms by her husband’s twin. And Joe Staton plays Duke Solinus and Balthazar, but also gives an unsettlingly scene-stealing turn as Dr Pinch, a conjuror-cum-doctor who offers to exorcise the supposedly possessed Antipholus.
It would be remiss of me to not also mention J.T. Stocks’s direction here as well. The whole thing comes together so well, collapsing the distance and separation between the performers to the extent that they even manage to get some of the slapstick (much of which revolves around people hitting the Dromios with varying brutality) on screen, no mean feat given the constrictions of the digital format. Strong direction brings this to our screens with confidence.
I did have reservations beforehand, but after watching The Comedy of Errors, I found myself reflecting on the ways in which the digital format enhanced rather than diminished the viewing experience. The Blind Cupid Shakespeare Company take every opportunity offered by the format, but not at the expense of strong performances and solid direction. They use the video conferencing technology, but they don’t rely on it entirely.
Now, I won’t say that you’ll come away from this performance feeling that it was a plausible and logical piece of drama. But that’s all on Shakespeare! The Comedy of Errors is a short, frantic piece of silly comedy that requires a healthy suspension of disbelief. It’s easy to imagine that, in 1594, audiences were ready for a bit of silly escapism after the traumas and hardships of the plague and the various lockdowns and restrictions.
I wonder if Shakespeare could have imagined that the play would serve the same purpose over four centuries later.
I thoroughly recommend The Comedy of Errors (or La Commedia degli Errori). If you’d like to see Shakespeare at his most chaotic, handled by a competent company of performers with a strong director at the helm, then this one is definitely worth checking out. (And as an additional bonus, it turns out that Shakespearian dialogue sounds beautiful in Italian!).
The Comedy of Errors / La Commedia degli Errori is streaming throughout September, as part of the Greater Manchester Fringe. To see the full programme for this year’s Fringe, visit the festival website.
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