Comedy of Errors
at Friends' Central School

Reviewed on March 3, 2018

Rachael Hesse
Phoenixville Area High School
Submitted for publication to Philadelphia Inquirer - 1

Friend's Central School's production of William Shakespeare's Comedy of Errors was a true clown-car situation, fully packed with energy, excitement, and smiles!

The Comedy of Errors is one of Shakespeare's earliest plays that premiered on the Main stage in 1594, and was later published in 1595. Since then there have been thousands of renditions of this comedic play that have left its audiences in stitches, and Friend's Central School was no exception.

The Comedy of Errors follows a father Egeon as he appeals the Duke of Solinus to escape execution, he explains that he, his wife, and their twin sons and twin servants were separated from each other in a shipwreck. Egeon explains that his son Antipholus and his servant Dromio of Syracuse went to Ephesus to seek out their twin brothers, and he after them. When the Syracusans encounter the friends and families of their twins of Ephesus, a series of crazy mishaps based on mistaken identities leads to beatings, romance, the arrest of Antipholus of Ephesus, police chases, and exorcisms. Throughout this wild plot each character has a copious amount of their own comedic moments that truly make it a comedy of many errors.

Friend's Central School's take on the timeless show was imaginative and lively due to their decision to make the play set in the 1920s, as well as adding in musical numbers by artists like Bessie Smith, to add to the high energy that showcased perfectly the play-turned-musical for all its wild twists and turns. Antipholus of Syracuse (Jesse Gross) and Antipholus of Ephesus (Miles Meline) portrayed raw emotion and comedy in their very similar roles as twins. Alongside them Dromio of Syracuse (Nina Saligman) and Dromio of Ephesus (Mira Kauffman-Rosengarten) kept the humor going with every line spoken as they had the audience gasping for breath with bald jokes and physical humor.

The supporting cast made the show, with the sassy sisters Ariana (Margaux Berland) and Luciana (McKenna Blinman) as they sang about love, and dealing with men. Saleana Copeland's notable performance as Bessie and The Abbess, graced the audience with her exquisite vocal range. Other notable performances go the Red-Nose Clowns (as the real comedic relief), the Tappers and Flappers, and Charlie Chaplin (Jade Halpern) who stole the show with their impromptu physical comedy and foreshadowing of the story in between scenes.

Evan Sweitzer's composition of the music was impeccable for a high school student's musical abilities, and accurately displayed the time period throughout the show.

Overall, Friend's Central School's adaptation of The Comedy of Errors was an exciting and swanky production that would have left even Shakespeare wiping away tears of laughter.

Nancy Bowne
Eastern Regional High School
Submitted for publication to Philadelphia Inquirer - 2

Enter the theater, anticipating a rendition of Shakespeare's The Comedy of Errors, poised in Elizabethan accents, staging, and attire. But suddenly, a row of tap dancers in tailcoats and flapper threads emerge, singing "Puttin' on the Ritz."

William Shakespeare crafted this play in 1594. The play follows the relations between two twin brothers, Antipholus of Ephesus and Antipholus of Syracuse, who became separated as infants. They disrupt each other's lives, unknowingly, along with their servants, also twins, named Dromio of Syracuse and Dromio of Ephesus. Eventually, all is reconciled with much rejoicing.

1920s flappers, tappers, and clowns, oh my! The cast of Friends' Central School's production not only reinterpreted William Shakespeare's The Comedy of Errors, but fully captivated the audience's interest through this play of mixed identities and quarrels.

The brothers, played by Miles Meline and Jesse Gross, impeccably created a frenzied air as they clashed with people from the other brother's life. Both actors physically reacted and delivered lines with poise. They also had great physical chemistry with their servants, played by Nina Saligman and Mira Kauffman-Rosengarten. These actresses had everyone laughing with the undelivered plans and shenanigans.

Supporting characters, such Antipholus of Ephesus' wife, Adriana, (Margaux Berland) and Luciana (McKenna Blinman) also powered the show's comic timing. Something that made this production's rendition especially unique was certain musical numbers that included these actresses as well as Bessie/Abbess (Saleana Copeland), whose powerful, warm voice, comforted the entire audience wherever she appeared on the stage or audience. The ensemble was a major proponent to this reactive show. Instead of blackouts, various clowns appeared. They pantomimed the show's conflict, even portraying character backstories and noises through specific props. All these light touches made a heavy impression.

FCS also enhanced the play through the popping lighting, sound, and makeup within the small theater. Their smiles and sparkles illuminated around the wonderful set as well. The show also had a student pianist, Evan Sweitzer, who arranged and performed incidental piano throughout the show. Amidst the conflict of the characters, the music created a charming, at ease atmosphere.

Shakespeare's work grants artists infinite interpretations. Friends Central School gracefully performed with a succinct sense of community and a good time. The audience appeared to have a swell time in the comedic mayhem and physicality. There will be errors in life. But in the reconnection of our relations, we shall find comedy and strength.

Xandra Coleman
Phoenixville Area High School
Submitted for publication to Focus

With flappin', tappin', and clownin', Friends' Central School brought the Elizabethan Shakespearean Comedy of Errors into modern enjoyment.

Comedy of Errors is one of Shakespeare's first plays, and one of the most farcical. The plot follows the one day saga of two identical twins, both named Antipholus, and their two identical servants, both named Dromio, who were separated at sea when they were merely infants. Unbeknownst to anyone, both sets of twins end up in the same town of Ephesus, and the audience watches as constant mistaken identity wreaks havoc on the lives of everyone involved. In Friends' Central's interpretation of the play, the plot is set in the 1920s with flappers and tappers and even Charlie Chaplin and his clowns.

In this production, no ensemble member went unnoticed. The Flapper and Tapper ensemble solidified the 1920s atmosphere with entertaining choreographed musical interludes between scenes characteristic of the 1920s. The Red-Nosed Clowns were functional and funny as their comedic scenes paralleled the plot giving the audience a humorous translation of confusing Shakespearean language.

Overall, the cast took on the challenge of performing original Shakespearean speech impressively. Each speaking role displayed a thorough understanding of the language with an articulate and purposeful delivery of each line. Cast members also showed remarkable commitment to character in a confusing plot where actors are asked to interact with each twin and each servant with the same attitude as if they were the same individual.

Both Antipholus of Ephesus (Miles Meline) and Antipholus of Syracusa (Jesse Gross) gave a convincing performance of two confused and frustrated characters displaying mounting anger and annoyance with each passing event. Their counterparts, Dromio of Ephesus (Mira Kauffman-Rosengarten) and Dromio of Syracusa (Nina Saligman) took on their roles with a particular show of commitment inciting even more laughter from the audience as their confused masters sent them literally tumbling and running.

Sass and loyalty emanated from McKenna Blinman (Luciana) as she interacted with her distraught sister and competently handled the lover's pursuits of Antipholus of Ephesus (Miles Meline) who she believed was her sister's husband. Margaux Berland (Adriana) pulls off the distressed wife convincingly through versatility in her emotions, changing from furious to hurt to jealous.

A notable work of creativity was completed through Evan Sweitzer, a sophomore at Friends' Central School who collected, arranged, and performed the numerous accompaniments to the 1920 musical interludes by the Tappers and Flappers ensemble along with incidental music characteristic of the 1920s time period. His efforts brought the entire 1920s atmosphere to a new level.

The sound of laughter rarely halted from the audience of Friends' Central School's production of The Comedy of Errors. It was a show of constant entertainment as the cast brilliantly took on the challenging task of performing Shakespeare.

Phoebe Barr
Episcopal Academy
Submitted for publication to GPC Website Review 4

Shakespearean adaptations are often known for deviating from the original plays' time periods and locations. Updating one of Shakespeare's works can cast it into a fresh light, allowing modern audiences to engage with it in a new way. Friends' Central's The Comedy of Errors updated its setting to a 1920s city, complete with flappers, Charlie Chaplin-inspired visual gags, and a host of 20s-era songs, arranged and accompanied by Evan Sweitzer. This departure from the source material grants the show unique charm and endless humor.

Two sets of identical twins, Antipholus of Ephesus (Miles Meline), Antipholus of Syracuse (Jesse Gross), Dromio of Ephesus (Mira Kauffman-Rosengarten), and Dromio of Syracuse (Nina Saligman), happen to be in the same town for a single day, none aware of the presence of someone who looks exactly like them. One Antipholus ends up dining with the other's wife (Margaux Berland), the other is charged for a necklace he never received, and they are both increasingly fed up with their servants, who seem to remember conversations with them that they can't remember holding. Each Antipholus finds himself in an ever-increasing mountain of trouble while a similar saga plays out with the two Dromios.

The show's strongest elements were its visuals. The physical comedy was reminiscent of the silent film era, with one actress (Jade Halpern) even dressing up as Charlie Chaplin and performing short, comedic skits with a troupe of clowns during scene changes. The sets (designed by Josh Weinstein, Sydney Kaplan, Alex Wang, Skylar Davis, and FCS Stage Crew), costumes, and lights (designed by Hannah Benjet and Reed Cooper) were flashy and colorful, and they highlighted the playful nature of the performance. However, the show's appearance certainly wasn't its only asset. With a premise that could easily become confusing, the acting and dialogue was clear and easy to follow, and the story, while full of twists and ridiculous calamities, was engaging throughout. This show would be difficult to perform in any circumstance, but in an updated environment, coupled with clowns and 1920s songs, it was even more impressive. All participants were fully dedicated to their roles, completely selling the premise through their own enthusiasm.

While unapologetically un-Shakespearean, Friends' Central's The Comedy of Errors pays tribute to Shakespeare's comedic legacy. It provided a surprising new look at a play written in the 1500s, its acting never failed to impress, and it was ultimately an incredibly engaging performance.