A mirrored disco ball spun around, lights glinted off the beaded curtains and thus Basement Arts' production of "The Comedy of Errors" began. This unconventional version of Shakespeare's play was a refreshing change from other uninspired productions of his works. With such a high-energy beginning, one might worry about the ability to retain such intensity, but the cast was up to the task.
Director Ernie Nolan did a wonderful job of creating a unique and fun-filled show. With the help of choreographer Job Christenson and the talent and enthusiasm of the cast, "Comedy" swept the audience away from everyday life.
The cast, led by Christenson and Jeremy Davis, did a remarkable job of creating the wild and extravagant atmosphere of Ephesus. Christenson, as both Antipholus of Syracuse and Antipholus of Ephesus, had problems creating more differentiated personalities for his two characters. It became difficult to tell which Antipholus he was portraying until the play had moved further into the scene.
Jeremy Davis created the wonderful characters of Dromio of Ephesus and Dromio of Syracuse. In contrast to Christenson, Davis invented two very different personalities for each of the Dromio brothers. Effortlessly switching from an eager and charming servant to one frightened and shy, Davis managed to warm the hearts of many in the audience.
Monica Yudovich, who played the character of Adriana, wife of Antipholus of Ephesus, accurately portrayed an upset, hurt and confused housewife. Yudovich's melodramatic character was fun to watch and had the audience sympathizing with her unfortunate plight.
The three sidekicks of The Duke of Ephesus, played by Rachel Hoffman, Adrienne Daignault and Heather Thompson, added an even more outlandish and extravagant tone to the show. Playing Luce the housekeeper was Kim Woodman. Woodman seemed to throw herself into her character, and easily convinced the audience of her wild obsession with Dromio.
Nolan edited the text a great deal, but was careful not to create unnecessary confusion by doing so. Great use of the many talents of the cast was made, as seen in the choreography. Nolan also was very creative and made good use of music and props to add to the absurdity of the story. As well as putting the action in a different time, Nolan threw in a slight twist at the end. A formidable and haunting Sr. Emilia was none other than Egeon's missing wife.
Making use of a chase scene helped move the story along without being caught up in too much dialogue. A summary of the story up until that point in the fifth act did away with any confusion that may have appeared along the way. Wrapped up and neatly tied, the final scene dealt with any loose ends and managed to satisfy all.
Cleverly done and anything but boring, the cast did a great job of putting on an exciting and colorful production. Since the action continued to move along, and slapstick was added in, even children in the audience seemed to find "Comedy" a fun show.
Overall, Nolan directed a wonderful cast and did a great job updating a timeless story. Beginning with a bang and managing to retain such enthusiasm, Basement Arts' production of "The Comedy of Errors" was a show to remember.