REVIEW: The (much shorter) Comedy of Errors at The Old Red Lion 11 – 15 November 2025
'The ensemble works together seamlessly.‘ ★★★ ½
‘This is NOT what we rehearsed.’
This is a production that takes its title literally. Think Shakespeare crossed with The Play That Goes Wrong, and you'll have a pretty good idea of what you're letting yourself in for. Lights fail, wigs fall off and a mop ends up in a starring role.
The (much shorter) Comedy of Errors is a play within a play. It is the saga of The Penge West Queer (+ allies!) over 30's (in spirit) Baking and Crafts Club (™) tackling one of Shakespeare's less-loved comedies. Stage fright, missing actors and a tendency to eat the props can't stop them from doing their very, very best to make it through to the end.
We are welcomed by the frazzled director (Kara Stanley) handing out programmes. Of course she's not a real director, she explains, and the actors aren't professional and why the hell did nobody turn the house lights off?
The audience is roped in from the start, the asides are constant and it's all supremely silly. That last bit is definitely also Shakespeare's fault, because the plot is nonsensical. The actors kick off with a puppet show to try to explain what's happening:
Two pairs of identical twins are separated at birth. Each twin has the same name as his brother. When grown, Antipholus 1 (Alexander Costas-Christophi) and his servant Dromio 1 (Meg MacMillan) set out to find Antipholus 2 (Max Easton) and Dromio 2 (Jodie Garnish). They accidentally run across Antipholus 2's wife (Stanley) and her beautiful sister (Frederick Arnot). Confusions and shenanigans ensue.
Is it gossamer-thin? Sure. Is it even more confusing when cut down to an hour? Probably. Does anyone ever become emotionally invested in any part of the plot? Not at all. But nobody really cares, because everyone is having a lovely time.
The ensemble works together seamlessly, and each performer is given a chance to shine. Frederick Arnot makes a smashing temptress, while Alexander Costas-Christophi could easily be a teleported Bottom from A Midsummer Night's Dream. Meg MacMillan makes the journey from wide-eyed stage fright to impassioned monologuing, and Max Easton's and Jodie Garnish's (slightly) more sedate twins steady the ship (if this ship is ever steadied).
The team was wise to cut this down to an hour. Any longer and the sparkle might start to fade. (I cannot emphasise enough how little the plot matters.)
As it is, grab a pint (or three) and settle in.
Team
Directors: Kara Stanley and Jodie Garnish
Performers: Kara Stanley, Jodie Garnish, Frederick Arnot, Alexander Costas-Christophi, Meg MacMillan and Max Easton
