There’s Nothing Wrong with The Comedy of Errors at Kelsey Theatre
- 8 hours ago
- 5 min read
by Deitra Oliver
Shakespeare strikes fear into the hearts of many directors, actors, and theatregoers. The language, complex characters and storylines, and the weight of expectation all contribute to why so many shy away from Shakespeare. Shakespeare 70, in association with the Kelsey Theatre, is celebrating their 56th year of sharing Shakespeare’s works and proving why we shouldn’t be afraid not only to watch, but to enjoy these classic plays. Their summer offering is one of Shakespeare’s earliest works, “The Comedy of Errors.” This slapstick comedy is skillfully directed by John F. Erath, Ph.D., the founder and president of Shakespeare 70. As stated in their opening remarks, “There are no twins in this show; our job is to make you believe there are.” And believe I did.
Upon entering the theatre, you are greeted with a beautiful stage design by Dale Simon. Filling the stage is the town of Ephesus, with a beautiful fountain taking center stage. The stage design is a fixed set, but designed in such a way that it brings the town to life. I appreciated the attention to detail and the choices in design, such as the stone markings on the stage floor, providing continuity and making the setting feel authentic. As always, I will mention the seating. The Kelsey has quite comfortable seating, with clear views of the stage from all areas. If you are a taller patron, choose an end seat, as you will be able to stretch your legs more comfortably.
The Comedy of Errors is a hilarious show about not one, but two sets of identical twins separated at birth and the craziness that ensues when their paths cross as adults. From mistaken identities to arrests and accusations of infidelity, this play answers the question of what might happen if someone wearing your face and sharing your name suddenly appeared and accidentally infiltrated your life.
The first set of twins is played by Alair DiRemigio as Antipholus of Syracuse and Thaddeus Micah Salters as Antipholus of Ephesus. One detail that stood out was the intentionality of the casting for these roles, as the actors clearly did not look like twins. It is a great credit to both DiRemigio and Salters' nuanced acting that, despite the obvious physical differences, there was no question that they were, in fact, identical twins. Both actors had incredible comedic timing and physicality. I particularly enjoyed Salters’ growing frustration as everything progressively worsened for Antipholus. At one point, they were literally being dragged across the stage, and the physical choices during the confrontation were hilarious. DiRemigio played the confused interloper to a tee and received many laughs.
The second set of twins is played by Caden Michalski as Dromio of Ephesus and Matthew Sudnick as Dromio of Syracuse. These twins bear a strong physical resemblance to one another. So much so that I was confused who was who for a good portion of the show. Each actor delivered strong comic performances with great slapstick humor. Michalski and Sudnick did a compelling job of creating the illusion of an actual set of twins in the show. Based on their performances, I am sure they spent time working together to build their likeness.
Costuming plays a huge part in making the twins and the rest of the cast look amazing. A special thanks is given in the program to Liz McNamara at WST Costumes, who I would also like to acknowledge in this review. A highlight was the period costumes in this show, which took the production from the originally written ancient Greece to the 20th century, somewhere between the 1920s and 1940s.
A standout performance for me was Uma Kasichainula-Maddhi as Adriana, the wife of Syracuse. Kasichainula-Maddhi brought a believability and realness to their performance that was refreshing. It was clear that they had a solid understanding of their character and the lines they were delivering. Kasichainula-Maddhi brought an electric energy to the role that livened each scene they were in. Maggie Gronethal joined the cast as Luciana, the sister of Adriana. Watching the dynamic of the two together onstage was a lot of fun. Kasichainula-Maddhi delivered the fiery sister, while Gronethal was the more reserved and romantic sister. Gronethal was also a delight to watch, and I especially enjoyed their choices when confronted with flirtations by the man thought to be the husband of their sister.
Jennifer Boutros as Emilia, an Abbess, and Andrew Condouris as Aegeon, a Merchant, prove to be the answer to all the confusion, as revealed in the final scenes of the play. Boutros, as Emilia, delivers the perfect level of imperious piety and self-righteousness to the character, with just the right mix of humor. Condouris does a great job opening the show and setting the scene with his monologue, delivering his story while pleading for clemency from the Duke of Solinus, played with the perfect level of authority by Justin Mancini.
Rounding out the cast are the citizens of Syracuse. Aster Kiesche delivers a fun and energetic presentation of Angelo, a Goldsmith. I really enjoyed the physicality they brought to the role. Cara Pergament as Ricca, a Courtesan, was confident and expressive and did a great job balancing the character. Kendal Plumstead plays the loyal Kitchen Maid to Adriana and makes the most of their time on stage, delivering their lines with humor and wit. Another great physical and comedic delivery came from Dia O’Carroll as the Officer and the secondary role of Doctor Pinch. Their interactions with the twins as the officer were fun to watch, and I greatly enjoyed the evangelical fervor they brought to Doctor Pinch. I laughed out loud. Lauren Goldsborough as Mattea, a Merchant, and Jim Sanders as Balthazar, a Merchant, complete the cast. Goldsborough delivered the perfect version of a Shakespearean “Karen” and had me laughing when they drew their dagger on Antipholus. Sanders does a great job, delivering a solid performance as the sometimes friend, sometimes enemy.
Overall, this was an excellent production of “The Comedy of Errors”. From casting to costumes and stage design, there were so many elements that went into making this an enjoyable theatre experience. Director John F. Erath, Assistant Director Janet Quartarone, Producers Michael Kierst-Krahel and Lili Timmes, and John Erath, Special Advisor to the Director, who worked behind the scenes to build the production team, cast the roles, develop the artistic vision, and bring the show to the stage, deserve credit for their hard work. I can’t leave out Business Manager Tom Curbishley, who ensured the production had the financial support it needed. In the age of AI, I appreciate that S70 decided to use Jake Burbage to do the graphic design for the show. I find this to be highly important in keeping the arts alive and flourishing.
Stage Managers Justine DeNicola and Kelly Weeden did a wonderful job, and the performance I saw can stand as a testament to that. There were no missed cues, props were where they needed to be, and everything flowed smoothly. Working in tandem with this team were lighting designer Curt Foxworth and sound designer Chris Loos. Foxworth kept lighting for this show simple but effective. For sound design, Loos did an excellent job of balancing the sound for the actors so that they were heard clearly throughout the theatre. Shakespeare is considered the master wordsmith, so hearing what is being said is very important.
If you are a fan of Shakespeare or maybe a little scared of his works, I highly recommend seeing this production. They do an excellent job of drawing you in and the delivery of the actors helps you to understand what is being said. The only mistake would be not seeing “The Comedy of Errors” presented by Shakespeare 70 in association with Kelsey Theatre. Running through June 28.
Get your tickets today before this delightful production closes.
Location:
Kelsey Theatre at Mercer
1200 Old Trenton Road
West Windsor, NJ 08550
***They/Them pronouns are used throughout this article to avoid potential misgendering of the people referenced.
