'The Comedy of Errors' review – a brilliantly bonkers production of one of Shakespeare's most fun plays

Read our review of giddy farce The Comedy of Errors, now in performances at Shakespeare's Globe to 27 October.

After causing chaos last year, Sean Holmes’ riotous The Comedy of Errors hurtles back onto the Globe’s stage. The theatre’s current season has been rather mixed, so it is refreshing to see this delightfully silly and cartoon-like comedy again.

Often seen as the comedic precursor to Twelfth Night, the story features two sets of identical twins separated from birth by a shipwreck. They become inadvertently reunited when the long-lost father of one pair faces execution. Identities are mistaken, events are swapped and general anarchy reigns. This is not a Shakespeare play to take seriously, which is just as well, as there is very little seriousness in this production.

Although set in the Greek city of Ephesus, Holmes, co-directing with Naeem Hayat, transports us into what feel like Elizabethan London. We have bawdy language, huge breeches and amazing codpieces (excellent costuming from designer Paul Wills). Ships cleverly dock at the side of the stage, but a huge ship mast overhanging one side of the audience is a mistake, causing sight-line obstruction for many seated in the galleries.

There is a distinct contrast between the Antipholus twins. Daniel Adeosun is uneasy and increasingly confused at the situation as Antipholus of Syracuse. His eyes pop further and further out of his head as the situation continues to baffle him. His brother, Antipholus of Ephesus, is a grumpier Celeb Roberts, who takes too much pleasure in beating his servant.

Antipholus of Ephesus’ wife Adriana can be an anodyne role, but Gabrielle Brooks gives the character depth and shows great comic timing. As her sister Luciana, Shalisha James-Davis also really leans into the comedy, with amusingly knowing gestures and facial expressions.

As the servants, Sam Swann lends Dromio of Ephesus warmth and looks to be having huge fun. Martin Quinn, as Dromio of Syracuse, delivers the incisiveness of his lines with aplomb, but also gains much sympathy as he laments his master’s violence towards him. They both revel in their own quick wit, but maintain distinction, helped by using their own regional accents.

There is a deliberate intention among the cast that runs throughout the show, reassuring the audience that they know the plot is as bonkers as it seems, and it is the citizens of Ephesus that provide much of the entertainment.

Rhys Rusbatch is very funny, although lacks projection, as both the ineffective Duke and lascivious conjuror Pinch. Christopher Logan makes goldsmith Angelo beautifully bewildered, and Danielle Philips gives Brian Blessed-levels of energy to the roles of Luce and Second Merchant.

With no interval, Holmes and Hayat’s pacy direction keeps the momentum going, sometimes verging into hysteria. As we come to the conclusion, there is a distinct change to the tempo, with Anita Reynolds’ humorous Abbess suddenly hinting at something more poignant and real.

This may not be Shakespeare’s most profound play, but this zippy production certainly makes it one of his most fun.

The Comedy of Errors is at Shakespeare's Globe to 27 October. Book The Comedy of Errors tickets on London Theatre.

Photo credit: The Comedy of Errors (Photos by Marc Brenner)