At Fluellen Theatre |
| Arts Wing, Swansea Grand Theatre- The Comedy of Errors , Fluellen Theatre Company , November 24, 2004 |
| This review originally appeared in The Western Mail Attempts to update the works of Shakespeare in a bid to make them "relevant" to a 21st century audience invariably come across as tired, cliché-ridden and packed with so many clumsily contrived references to current events that the narrative becomes lost in a sea of self-indulgence and visual distractions. Happily, the Swansea-based Fluellen Theatre Company is renowned for its ability to present classic theatrical works in a manner which blows away the cobwebs whilst preserving the integrity of the original material, and this certainly applies to this cleverly conceived re-working of the only Shakespearean play which can truly be described as a farce. Director Peter Richards - who also appears in the role of Egeon - has "re-imagined" this comedy of mistaken identity involving not just one but two pairs of identical twins as a fast-paced live-action cartoon featuring a host of wild characters, including not only brightly-clad clowns(Eloise Howe and Gavin Dando)and an arm wrestling nun(Penny Dixon)but also a fishnet-clad, whip-wielding courtesan(Sian Denty)and a grotesque maidservant with a roving eye, splendidly portrayed by Claire Novelli. A talented twelve-strong cast - led by Bethan Thomas, Dean Rehman, John Norton, George Andrews and Alison John - do much to ensure that the pace never flags for a moment, and if the delivery is perhaps a little rushed at times it all helps to drive the action along. Slapstick and visual gags are never far from the surface, and even the inevitable custard pie makes an appearance at one stage - but the biggest surprise comes when two characters engage in a martial arts stand-off which, though it is hardly likely to give the fight arranger of Xena Warrior Princess any sleepless nights, is smartly handled and very amusing. This is a production which lends itself brilliantly to Fluellen's in-the-round approach, and the performers handle the situation with enormous energy and commitment despite the proximity of the audience. Sometimes it can only take a bored fidgety child, a yawn or someone glancing at their watch to throw one's concentration, and to their eternal credit Fluellen's players never allow themselves to be led astray by such distractions. Fluellen's most recent outing, The Duchess of Malfi, attracted sellout audiences during its run and it is to be hoped that this good-natured and inventive production will be similarly successful. Despite its essentially studio-bound approach, this is a play which deserves to be seen and enjoyed by as wide an audience as possible, and one which makes the most of a large and enthusiastic cast. Fluellen returns to the Grand in March and April with Sophocles' Oedipus the King and A Midnsummer Night's Dream. |
Reviewed by: Graham Williams |
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