By Geary Danihy
What does “Never on Sunday” (the song and the film) have to do with Shakespeare’s The Comedy of Errors? Well, not much, one would think. Why would the citizens of Ephesus break out into an extended Bollywood dance sequence? Well, for no particular reason. Is it true that it ain’t over ‘til the fat lady sings? Apparently. The Hartford Stage’s production of one of Shakespeare’s early comedies is an exercise in indulgence, specifically director Darko Tresnjak’s delight in such films as Never on Sunday, Zorba the Greek, various Bollywood musicals and It’s a Mad, Mad, Mad, Mad World. I might add Beach Blanket Bingo, though it’s not mentioned in an interview with Tresnjak printed in the show’s program. The question is, should a playgoer indulge Tresnjak? The answer is “Yes,” for The Comedy of Errors is 90 or so minutes of controlled insanity and mayhem that cries out: “Damn the logic, let’s go with it!” This over-the-top production vibrates with the excitement of never knowing exactly what Tresnjak and cast will do next.
If there’s one drawback to the production it’s that many of the lines are delivered in such a rapid-fire, frenetic manner that you might find yourself saying “Say what?” However, that doesn’t mean you won’t know what’s going on, for the acting is emotive in the extreme (something farce requires) and the body language of all concerned is sufficient to convey meaning when the dialogue sometimes becomes merely a stream of sounds, often in iambic pentameter.
As with previous Stage productions, director Tresnjak is also the scenic designer, and he has given the audience a pastel paradise that seems more Middle-Eastern (Istanbul?) than specifically Greek. In fact, it’s a Disney World environment that embraces the look and feel of the films mentioned in the program and allows for the various anachronisms that proliferate.
If you refer to Shakespeare’s text, here’s how the play opens:
SCENE I. A hall in DUKE SOLINUS'S palace.
(Enter DUKE SOLINUS, AEGEON, Gaoler, Officers, and other Attendants).
AEGEON: Proceed, Solinus, to procure my fall / And by the doom of death end woes and all.
Well, that’s not good enough for Tresnjak. Instead, we get a Courtesan (Paula Leggett Chase) enticing the audience with a sultry version of “Never on Sunday,” accompanied by two Musicians (Louis Tucci and Alexander Sovronsky). Then there’s some background exposition that sets out the basic premise: Two twin brothers, along with their twin servants, were separated as children by a storm; one set, Antipholus of Syracuse (Tyler Lansing Weaks) and his servant, Dromio of Syracuse (Alan Schmuckler) end up in, of course, Syracuse, and the other set, also named Antipholus (Ryan-James Hatanaka) and Dromio (Matthew Macca) land in Ephesus. The former set, now adults, arrives in Ephesus where Aegeon (the two Antipholuses’s -- or is it Antipholi’s -- father has been arrested because a Syracuse merchant ain’t supposed to be in Ephesus).
The boys from Syracuse are footloose and fancy free, but Antipholus of Ephesus is married to Adriana (a marvelously bitchy and inebriated Jolly Abraham) and his Dromio is attached to the rather rotund serving maid Nell (the athletic Tara Heal). To add to the mix, Adriana has a sister, the prim and proper Luciana (Mahira Kakkar) who will eventually let down her hair (literally and figuratively), as well as various policemen, prostitutes, fun-loving tourists, waiters and Ephesians.
Well, you know what happens. The Syracuse duo is mistaken for their Ephesian twins. Oh, the confusion -- consider the possibilities (Shakespeare did). Who is married to whom? Who owes whom what? To who or to whom, that is the question. Does it all matter? Not really. In Tresnjak’s hands the basic play is like pizza dough -- it all depends on what you put on top -- and Tresnjak has decided to use unexpected ingredients. You may not have tasted them before in concert, but after the initial “Does that go with that?” you realize that it all works and is altogether pleasing to the play-going palate.
Take your pick as to what pleases your palate the most, but for my money the extended Bollywood dance scene (choreography by Peggy Hickey) near the end of the show is something I’d order up on a regular basis (and it would bring me back to the theater for a second serving). First, it is totally unexpected. Second, it’s extravagantly exuberant. And third, it’s just sheer fun, and the cast (it’s an ensemble dance number) just seems to have been waiting for this moment to let it all hang out. For those not familiar with this type of production dance number, you might want to check out Bride and Prejudice on You Tube.
On opening night the theater was packed, and it probably will be for the show’s run. We all go to the theater for different reasons, and one of them is just to have a hell of a good time, to not brood, despair or ponder but simply to revel in excess, to set aside our political-correctness for a moment and unabashedly laugh at the fat lady’s pratfalls. We may feel a bit guilty in the morning, but what the hell.
The Comedy of Errors runs through February 12. For tickets or more information call 860-527-5151 or go to www.hartfordtsage.org.