Review by Steve Mackrell for Mark Aspen (April 2025)
Here’s a whirlwind of a production, full of youthful vigour and vitality which ensures Shakespeare’s masterpiece of mistaken identity is both brash and raucous for modern audiences. Larger than life, and full of comic invention, this is a mesmerising and engrossing production of The Comedy of Errors by YAT (Youth Action Theatre) in the studio at Hampton Hill Theatre.
One of Shakespeare’s earlier plays, from 1594, this is simply a farcical play without any of the profundity of his later plays. It’s an implausible tale of two sets of identical twins separated at birth in a shipwreck. Eventually they are inadvertently reunited when the long-lost father of one pair faces execution. Identities are mistaken, events are swapped and anarchy reigns in what is a delightfully silly play.
This fast moving, energetic and high-speed production has been condensed from a five act Shakespearian play into a breathtaking non-stop seventy-minute version running without an interval. However, being a shortened version, the main challenge for the audience is to identify the many different colourful characters and their relationships with each other. Even more challenging when faced with two sets of identical twins with the same names: Antipholus of Syracuse and his servant Dromio: and Antipholus of Ephesus and his servant, er, also called Dromio. Confused? Well, that’s all part of the fun of the play. Helpfully, the programme contains a brief outline of the plot and characters to guide you through the play.
Much credit must go to Director Rowan D’Albert and his team of young YAT actors who, being a youth theatre company, are all aged between 16 and 25. His strong direction maintained a fast pace throughout, with hardly a pause, and his placement of the characters and the composition of the scenes could have been out of a painting. Packed full of movement, this production was clearly “over-the-top”, but in a positive way. The comedy was well-timed, the mannerisms well observed, and particularly enjoyable was the direction of the breathtaking “chase” scene, with its fast and cleverly executed entrances and exits. Indeed, the movement of the entire ensemble was outstanding, with D’Albert’s direction akin to that of a skilful choreographer, but without the dance.
The capable cast of twelve worked exceptionally hard in creating the fifteen different characters and together blended into an effective team. Among the stand-out performances were, on the Syracuse side, a very magnetic and powerful interpretation of Antipholus by Daniel Burley while his comic sidekick, the servant Dromio, was played by Bryn Wilson with amazing gusto, which was a joy to watch. This was an athletic performance, full of comedy and complete with nimble, limb-twisting contortions.
Not to be outdone, on the Ephesus side of the equation, was Ed Couchman-Boor’s stylish Antipholus and AJ Hill’s impish Dromio. Also catching the eye was Gio Nickson with an outstandingly strong performance as the Syracusan merchant Aegeon, the father searching for his lost twin sons, and Kavi Noonan as a flamboyant Duke Solinus, doubling as Pinch, the eccentric doctor. Playing the fun cameo role of the seductive courtesan, Meaghan Baxter gave a mischievous and amusing performance as the coy lady of favours.
Under-pinning all of this was the excellent work of the YAT crew. The set was a simple bare stage apart from the rare appearance of an occasional chair. Given the intimacy of the studio at Hampton Hill Theatre, this bare space provided an excellent arena for producing this intimate “in your face” production. Also to be commended was the excellent diction of the company where every word was pronounced loudly and clearly, an art which these days can be sadly lacking. Also remarkable was the detail of the make-up and hair, together with an exceptional array of colourful period costumes. Sound design by Liz Lattimore fitted perfectly from the opening music through to the “Benny Hill” type rousing background music which underscored the hysterical “chase” scene.
All in all, an enjoyable feast of a production from YAT showcasing Shakespeare’s comic play at its best. Highly recommended.
Originally published at The Comedy of Errors | Mark Aspen
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