Shakespeare Marathon, Part IV: The Comedy of Errors

Accessibility and brevity are paired in The Comedy of Errors; thus, the play has gained favor even among those who find many of the Bard's works daunting. The ribald humor, along with the riotous interaction among the two sets of twins, has made The Comedy of Errors deservedly popular throughout the ages.

Cinematic adaptations of The Comedy of Errors are hardly numerous, particularly when one compares it to Macbeth, Hamlet, Richard III, Romeo and Juliet or King Lear. What is on offer are the musical adaptation entitled The Boys from Syracuse and the literal adaptation by the BBC from 1983.

Two nights ago I had the good fortune to find myself alone with The Complete Works of Shakespeare, a volume I had purchased in Seoul back in 1997 and have kept by my side ever since. Alone with the massive tome, I found myself reading Shakespeare's shortest dramatic work. Wishing to see the witty repartee brought to life, I sought out the BBC adaptation on my university library's website.

The BBC adaptation is typical of the series: scaled-down sets that vary little from theatrical productions, a host of well-known British talent and a dedication to a pure representation of the work itself. The BBC adaptations have been derided as "anachronistic" and "unimaginative" in an era where Romeo and Juliet has been transported to 20th-century Los Angeles, King Lear has been set in medieval Japan and Titus Andronicus is delivered within a setting that features a peculiar juxtaposition of modernity and primitive barbarism.

To the purist, the BBC adaptations are a valuable resource. One element that may counter the sensibilities of the purist is the casting of the rock icon Roger Daltrey in the part of Dromio. Daltrey, although not particularly luminescent in the role, does acquit himself as a comedic actor. Here we see him ably portray the hapless buffoon Dromio, who is subjected to the cruel caprices of his master Antipholus, played here by Michael Kitchen. Familiar faces are, of course, Cyril Cusack in a genuinely moving performance as the condemned Aegeon and Charles Gray as Solinus. An impressive turn is given by Joanne Pearce in the role of Luciana, who is coveted by Antipholus of Syracuse. Ms. Pearce portrays well both her indignation and presumed flattery as she is wooed by the man she believes is her brother-in-law. Suzanne Bertish stands out as the wife of Antipholus who, as is the case with the principals, is woefully unaware of the farcical situation unfurling until the very end.

Many may seek out something more elaborate than this 1983 production, but it is a good point of reference for those who wish to see Shakespeare free from the transpositions his work undergoes so frequently.