The American Shakespeare Center in Staunton, Virginia hosted EMU’s Global Literature I students (myself included) for a showing of A Comedy of Errors—one of William Shakespeare’s first plays—on March 26. The play itself is based on a Roman play by Plautus called The Twin Menaechmi, featuring twin brothers who were separated in childhood and reunite later in life—after a great deal of confusion for their friends. The Shakespearean version adds another set of twins, as well as a father searching for his children. The Shakespeare Center’s production made excellent use of blocking, costuming, and audience interaction to draw in viewers and add humor to the experience.
While the play itself provides great humor, the American Shakespeare Center’s performance was exceptional. Their use of blocking (the way characters and props move on stage) kept viewers engaged in their actions as well as their words. The characters seemed to draw energy from each other, the scenes often escalating in intensity until they hit a temporary resolution, only to restart the process with each new misunderstanding. The use of physical comedy was incredible, with actors flinging themselves across the stage in ways that often left me holding my breath, unsure of whether to laugh or gasp. During a chase scene, I (in my front row seat) was treated with a perfect view of the pursuer shuffling across the front of the room with his hands on the floor and his feet up on the stage, huffing and shouting the whole way.
The costuming and props added to the play’s effect—and lessened my concerns about the actors’ safety. To reduce confusion for the audience (and enhance it for the characters), the “identical” characters had matching outfits, but the actors were different. The wealthy characters wore jewelry and frills, while the servants’ clothes were plainer and more faded, and they had no jewelry. One character gained a large, colorful lollipop at one point, which grew comically throughout the play. For the actors’ safety, several of them (the ones with grander stunts) wore knee pads under their pants. The knee pads were not obvious (even in my front row seat, I did not notice them until a friend pointed them out during intermission), but they seemed to be enough to protect the actors during their tumbles across the stage.
Audience interaction was another highlight of the show. At a few points, the actors gave props to audience members to hold during a scene. The knowledge that you could be chosen at any moment to hold something was an additional incentive to pay close attention, and the expressions of those who were chosen elicited several laughs. The most comical moment was when two characters were arguing, and one made the analogy of a bald person. To accentuate his point, the character gestured toward one bald person in the audience repeatedly. (The man was very good-natured about it; during the talkback, he even joked about his involvement.) Based on my previous experiences at the Shakespeare Center, audience interaction is one of the staples of the theater’s performances. Anyone looking for a few hours of humorous entertainment should absolutely consider attending A Comedy of Errors at the American Shakespeare Center. The play itself is one of Shakespeare’s classics, and its premise has been enjoyed by audiences as early as the Roman Empire. Viewers not only enjoy an amazing performance but also support a local theater group that works hard to provide fun entertainment year-round. You can find more information at their website: americanshakespearecenter.com.
