Review: THE COMEDY OF ERRORS, RSC
Photo credit: Pete Le May (RSC)
Sitting alongside the banks of the River Avon is the RSC’s new Garden Theatre, a delightful new experience for audiences coming back to the Stratford-Upon-Avon based venue. The new Lydia and Manfred Gorvy Garden Theatre, named after the donors who made it possible, is a 500-seater temporary performance space. Made in response to the pandemic and its continuation to play a burden on the arts; this semi-circular seating area offers a one-of-a-kind view of the Swan Theatre rising behind the stage and enables The RSC’s shows to go on.
The theatre is currently being maintained at a socially distanced 310 seats and these measures are put well into space by The RSC’s Front of House team. They were also on hand with ponchos (you can purchase these for £4) should you get caught up in the traditional British weather for this time of year. There is also a one-way system in force and multiple hand sanitizers located around the space. The seating is comfortable and wherever you are situated you have a great view of the space. It’s well lit and the use of microphones allows the actors to project their voices with ease. I felt really safe on my visit and felt the audience was respectful of one another’s wishes.
The Comedy of Errors is one of Shakespeare’s earliest and shortest plays. It is an absurd comedy with a major part of the humour within it coming from slapstick and mistaken identity, in addition to puns and word play. The story follows two sets of identical twins who were accidentally separated at birth. It is a poignant story that covers family loss and reunion, whilst in the middle is a frantic series of misunderstandings that make the production slightly chaotic.
The new setting is more appealing than the production itself. Although director Phillip Breen has done a fantastic job at playing with adding new layers to the production, comedic elements and inserting some modernistic touches, including the suggestive squirting of hand sanitizer, I felt really lost by what was unfolding. There are definitive well-placed comedic elements in this show that enabled the audience to erupt into laughter. One particular moment is when Balthasar (Patrick Osborne) has a multitude of wigs he has to contend with, which certainly tickles one of the younger members of the audience.
The RSC have done a fantastic job at ensuring inclusivity and diversity is available in their work and The Comedy of Errors is the same with BSL being incorporated into the piece.
Max Jones, the designer, has brought life to the production with the vibrant look of the 1980s. The 18-strong cast do a great job at navigating us through the chaos of The Comedy of Errors and help to bring their different contributions to the unfolding of mistaken identity superbly. My favourite performances were from Dromio of Syracuse (Jonathan Broadbent) and Antipholus of Syracuse (Guy Lewis) who are a clear cut and well crafted comedy duo that bring elements of this performance to light.
It is such a shame that this production wasn’t my personal favourite of the RSC but it definitely may be suited to other people’s taste more than my own. Although collectively the entire cast ensure the vast space within The Garden Theatre is full to the brim with a joyous welcome back to the venue after a tough 18 months.
**** Four stars
Reviewed by: Emmie Newitt
You can catch The Comedy of Errors at the Lydia and Manfred Gorvy Garden Theatre until 26 September. Book your tickets here.
Please note this review is also on Carpe Diem Emmie.
