One thing that I expect hasn’t changed since the 16th century is that the cadence of comedy is almost as important as the content.
The second entry in this year’s Richmond Shakespeare Festival, “The Comedy of Errors,” has several uproarious moments, some delightful performances, and, perhaps most unexpectedly, an entrancing sound design. But the production meanders in a way that undercuts their impact. As Shakespeare’s shortest play, it’s a show that need not run over 2 hours; this production pushes well past that.
The plot relies on one of the Bard’s most straightforward conceits. A merchant with twin sons both named Antipholus takes in another set of twin boys, both named Dromio, to serve as his sons’ servants. When the boys are all still infants, a shipwreck splits the family in half, so that each Antipholus / Dromio set grows up ignorant of the other.
Years later, one son/servant duo that’s grown up in the town of Syracuse arrives in Ephesus where the other set lives. Incidents of mistaken identity compound and mayhem ensues.
Director Andrew Gall seems to be trying to evoke a ’90s vibe employing songs like “Semi-Charmed Life” and “I’m Only Happy When It Rains.” But besides giving clever costume designer Anna Bialkowski opportunities to subtly evoke the era – the Dromios both wear ‘NSync t-shirts, for example – the setting doesn’t provide much thematic enhancement.
Much of the humor leans strongly into slapstick, allowing the natural comedians in the cast to shine. As Dromio of Ephesus, the energetic Emily Berry adds another sterling performance to a growing list of comic triumphs. As the series of missed connections and misunderstandings spirals, her exasperation is palpable.
Erica Hughes makes the most out of her role as a saucy courtesan. Dixon Cashwell, playing a merchant who delivers an expensive chain to one Antipholus only to be frustrated trying to collect payment from the other one, is over-the-top hilarious in a way that almost seems to belong in a different show.
The piece forces most characters to play variations on confusion and rising frustration, thwarting attempts at nuanced acting. One scene makes room for more depth and it’s a gem. The wife of Antipholus of Ephesus, Adrianna (Rachel Garmon-Williams), has browbeaten the out-of-town Antipholus of Syracuse (Joel White) to come home with her, assuming he’s her husband.
There he meets Adrianna’s sister, Lucianna (Claire Wittman) and falls for her. Lucianna is appalled by her presumed brother-in-law’s declarations of love but ultimately becomes more conflicted. White and Wittman run through the dance of emotions expertly, managing to be both funny and endearing simultaneously.
The production features several other fine moments, such as Dromio of Syracuse (Juliana Caycedo) refusing Antipholus of Ephesus (Neal Gallini-Burdick) entry into his own house, while also spurning the advances of a kitchen wench (Sara Heifetz). But some scenes drag or are frustratingly loose, undermining the build-up of comic momentum.
In addition to Bialkowski’s costumes, the other technical elements are top-notch. The coyly percussive entre’ act music created by local composer Kate Statelman consistently surprises, turning the scene changes into a sonic treat. And as the sun sets, the importance and striking intensity of Michael Jarett’s lighting design comes to the fore.
It may be unfair to compare productions but the staging of “The Comedy of Errors” for the 2013 Richmond Shakespeare Festival clocked in at a swift 90 minutes. This year’s model certainly has its charms and time spent on the lawn at Agecroft Hall is always enchanting. But this is one occasion when a little less time might have resulted in a little more enchantment.
“The Comedy of Errors” can be seen on the lawn at Agecroft Hall, 4305 Sulgrave Rd, until July 30th. Tickets available at https://richmondshakespeare.org/.
Correction: Antipholus of Ephesus is played by Neal Gallini-Burdick.
