hoever said Shakespeare was boring needs to be shot, or at the very least taken to the Aquila Theatre Company’s production of “”Comedy of Errors.”” This updated performance of The Bard’s first comedy is currently playing at La Jolla Playhouse to riotous laughter.
Shakespeare’s earliest and most accessible comedy tells the story of two sets of twins ‹ two young men and their servants ‹ who are tragically separated (a familiar theme for Shakespeare) and then find themselves in hilarious situations of mistaken identities, eventually reuniting in a contrived, yet ultimately pleasing ending.
The Aquila Theatre Company, which has gained a reputation for excellent classical theater productions, gives new life to the silliest of Shakespeare’s comedies by adding an element of cartoonish humor and placing the story in 1930s Turkey. Everything from passing gas to human anatomy becomes the topic of jokes ‹ and successful ones. And what could have made this goofy comedy even better? Song and dance, of course! Musical numbers, choreographed dance routines (both romantic and comical), humorous chase sequences and fights are all set to music, and make “”Comedy of Errors”” a fast-paced frolic in this bright and vibrant world.
Even the silliest of jokes are pulled off with perfection by a cast with brilliant comedic timing and splendid chemistry. Louis Butelli absolutely steals the show with his enthusiastic portrayals of the confused and often downtrodden Dromio of Syracuse and his twin Dromio of Ephesus. As these two characters, Butelli goes from being uptight and dorky to clever and street-smart within seconds, all without a costume change. Part genius and part child, Butelli uses his talents to make the performance fun.
Along with Butelli’s commendable performance is that of Richard Willis. With nearly the same amount of fervor, Willis brings life to the philandering man’s man Antipholus of Ephesus, as well as the straight-laced and four-eyed Antipholus of Syracuse. (The reason for each pair of twins sharing the same name is still a mystery.) His dreamy dancing as Antipholus of Syracuse contrasts with his partying and thrusting movements as Antipholus of Ephesus, showcasing his amazing ability to play two completely different characters (with different accents and all) that look exactly the same.
The rest of the cast does a superb job of portraying multiple characters with interrelated stories and, as a whole, complement Butelli and Willis wonderfully. Alex Webb, in roles as Egeon the father, Balthasar the Merchant and Pinch the doctor, is humorous with his exaggerated gestures. Andrew Shwartz is animated and entertaining several characters, especially as Angelo the goldsmith who seems to run around like a chicken with its head cut off. The three actresses (Lisa Carter, Lindsay Raye Taylor and Heather Murdock) play off each other nicely, although Murdock displayed the most enthusiasm and talent while switching back and forth from a swarthy kitchen maid to a svelte courtesan.
Within the simplistic stage settings and amusing lighting, the action becomes the main focus. Unlike other modern versions of Shakespearean plays that end up being odd and confusing, this one works, making for a pleasant ending to La Jolla Playhouse’s 2003 season.
