Lights, Cameras, Action!

The Comedy of Errors

In a stellar career that spans decades, Barbara Gaines, the gifted Artistic Director and founder of Chicago Shakespeare Theater, is retiring. She’s directed this latest offering at CST as her final production at the theater’s home on on Navy Pier. Having helmed nearly 70 productions since 1986, Ms. Gaines has guided 33 of the Bard’s histories, tragedies and comedies during her career. In her directorial swan song, Barbara reunites with her long-time collaborator, Second City veteran, Ron West to create, as she says, this “love letter to theater making.” This creative, comic adaptation of Shakespeare’s earliest and shortest play, the production reimagines the play as a WWII era film. 

Scholars have written that “The Comedy of Errors” is Shakespeare’s least erudite of all his plays. They claim that, while it shows very little thematic depth the play demonstrates Shakespeare’s mastery of action, character and stagecraft. It appeals to theatergoers who love low, physical comedy. The comedy features a roll call of loony characters in a series of silly situations. The story sets up unbelievable circumstances that offer plenty of satire and schtick. In this adaptation, the play becomes a vehicle for an eccentric troupe of fictional British stage and screen actors who are attempting to film the Bard’s comedy. Their goal is to create a much-needed, entertaining diversion for the troops fighting England. The result is a backstage story of bizarre characters mired in their own comic conflicts. By coincidence, the play-within-a-play often mirrors the Bard’s broad farce and enhances Shakespeare’s comedy.

The plot, which takes place during one very hectic day, involves two pairs of identical twins who were accidentally separated at birth. Antipholus of Syracuse, and his manservant Dromio of Syracuse, arrive in the Greek town of Ephesus. There, by chance, also dwells both of their estranged twin brothers, Antipholus of Ephesus and his manservant Dromio of Ephesus. Upon meeting the spouse, friends and acquaintances of the Ephesian young men, mistaken identities, wrongful accusations and arrests and a couple romantic encounters inevitably take place. There is a whole lot of yelling, jumping, climbing and running up and down through the aisles before all is resolved.

Brilliantly conceived and broadly directed by Barbara Gaines, this fine production features a truly remarkable ensemble of some of Chicago’s best. Every single actor demonstrates a performance that’s deserving of his or her own individual standing ovation. Dromio of Syracuse is brilliantly played by one of the Windy City’s finest comic actors, Ross Lehman. In a dual role, he also plays Dudley Marsh, the director of the movie, as well as the leading actor. Full of himself is Lord Brian Hallifax, played with agility by Kevin Gudahl, another Chicago comic genius. He also portrays Lehman’s twin brother, Dromio of Ephesus. Both characters are submissive servants and bumbling buffoons, kind of in the vein of the Marx Brothers or the Three Stooges. 

Guest actor Dan Chameroy, who’s performed in 15 seasons at the Stratford Festival, plays brave American GI and handsome crooner, Phil Sullivan. He’s been cast by Marsh to portray Antipholus of Ephesus and is terrific in both roles. Antipholus of Syracuse is played by the likable and energetic CST veteran, Robert Petkoff. His Shakespearean character is dashing and daring, while his alternate role of actor Emerson Furbelow endures a running joke about his halitosis. Between these four actors there’s two hour.s of mistaken identities, wrongful accusations and arrests and a couple romantic encounters. This quartet of talented actors is responsible for most of the action in this comedy. But wait—there’s more!

An actress whose many talents have been enjoyed on Broadway, at many regional theaters and probably on every stage in Chicago, the extraordinary Susan Moniz is simply magnificent as both oversexed diva Veronica Marsh and the play’s leading lady character, Adriana. There’s nothing this talented actress can’t do and now she proves she’s a mistress of physical comedy, as well. Lovely Melanie Brezill, another accomplished actress of many talents, has also been seen on Broadway and in National Tours, as well as at Chicago Shakespeare and most every other Chicago theater. Here she plays actress Alicia Boggs, who portrays Adriana’s sister and femme fatale, Luciana. Both ladies become the love interests of the two Antipholus gents.

But there are so many more standout comic performances in this production, that it’s difficult to list them all. Ora Jones is funny as Doris, but she’s hilarious as the Abbess. William Dick is a talented, well-known actor at CST, the Goodman, Steppenwolf, Northlight, TimeLine and many other venues, as well as at several regional theaters. He is brilliantly funny as Marsh’s assistant, the dazed and often confused Charles Chittock. I’ve never seen Mr. Dick in such rare form and he’s fantastic. The same can be said for Greg Vinkler, also a veteran of Chicago Shakes, but additionally of so many other Chicago area and international theaters. His laugh-out-loud portrayal of Admiral Bernard Philpot has to be seen to be appreciated. He’s a comic genius! Vinkler also humorously plays Egeon, an elderly father searching for his lost sons, the Antipholus brothers. 

Breon Arzell has made the most of his comic role as movie cameraman David Pickles, but he gets real comic mileage from his broad portrayal of Angelo. Lovely Lillian Castillo, always an absolute delight in any role she plays, is sweet as swooning film assistant, Marian; but she really lets loose with the laughs in Act II as the sultry Courtesan. Steve McDonagh is a riot, both as stagehand Cyril and, in drag, as little Nell. Handsome Russell Mernagh, sporting an eyepatch, is aptly named Patch, but also plays Balthasar in the film. With few actual lines of dialogue, Michael E. Martin is a stitch as both the Gaoler and the Officer. Another veteran actor of Chicago and region theater, Bill Larkin is quite the jester as Eddie Philpot, who’s enlisted to play conjuring schoolmaster, Dr. Pinch in the Shakespearean comedy. Additional fine performances are turned in by Adia Bell, as Fanny/Messenger and Maya Vince Prentiss as Priscilla/First Merchant. And with a long resume of credits from CST, Bruce A. Young, who serves as the production’s Fight Choreographer, portrays both Monty and the Duke.

The show features a stylish, colorful Scenic Design by James Noone, lit with sparkle by Ken Posner. The show is beautiful and colorfully costumed in period panache by Mieka van der Ploeg, with stylish wigs and makeups courtesy of Richard Jarvie. Verse Coach Larry Yando and Dialect Coach Kathy Logelin share the responsibility of making sure every actor sounds authentic and is understandable. Their work is enhanced by Musical and Sound Designer, Lindsay Jones.

Believed to have been written sometime between 1591-1594, William Shakespeare’s far-fetched farcical comedy is given a modern, updated adaptation by Ron West and Barbara Gaines. In her farewell production as Artistic Director of CST, Ms. Gaines puts her artistic touch on every aspect of this thoroughly captivating, laugh-a-minute production. Audiences will enjoy and cherish each moment. With a cry of “Lights, Camera, Action!” Ms. Gaines has directed her cast with the expertise and agility of a seasoned ringmaster. There’s action happening everywhere, from all corners of the stage to the aisles of the theatre, making Shakespeare’s broadest comedy a feast of sheer madness and delightful mayhem.      

Highly Recommended

Reviewed by Colin Douglas

Presented March 9-April 16 by Chicago Shakespeare Theater on Navy Pier, Chicago.

Tickets are available in person at the theater box office, by calling 312-595-5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.