Skip to main content

The Comedy of Errors

Royal Conservatoire of Scotland, Glasgow
Four stars

Beware, old-school European passport holders attempting to travel to mythical Shakespearian versions of neighbouring countries in the near future. As John McGeachie’s Syracusian abroad Egeon discovers from the start when he goes in search of his two lost boys in director Andy McGregor’s wildly irreverent take on one of the bard’s earliest rom-coms, little Ephesus is a local town for local people. In a show performed with unabashed glee by second-year BA Acting students, this doesn’t stop Speir Sadivo’s piano playing Duke vamping like a maestro before granting him a twenty-four hour pass to see who or what he can dig up.

Egeon’s two little boys, meanwhile, both called Antipholus, and each with servants named Dromio in tow, are clearly peas from the same pod.  As depicted by James Ripple and Adam Butler as the Antipholuses and Mabel Thomas and Yolanda Mitchell as the Dromios, their identikit hipster looks causes all manner of confusion, not least with Ellinor Larsson and Maria Laird’s sisters Adrianna and Luciana.

Out of such nonsense and shenanigans blossoms a junkyard pop musical remix, which takes seriously liberal licence with Shaky’s original opus by way of a romp that pulls out all the stops to get to its very happy end. The action is punctuated by cartoon-strip style sound effects provided live by a cast who also play musical instruments as they go, with Kirstyn Rodger’s set changing scene by way of revolving blackboards.

Everyone onstage is clearly having a ball, and there is much in the way of ad-libbing going on. The propensities of Buckfast are explored by Antipholus of Ephesus when he comes a cropper after starting up a potty-mouthed audience chant while attempting to storm the nunnery. There is showboating galore too from Elena Redmond’s tap-dancing Courtesan, while the perils of rampant snogging while wearing lipstick is a lesson Marisa Bonnar, who plays Abbess Emilia, is unlikely to forget in a show that looks suspiciously like a fringe smash hit in waiting.

The Herald, January 27th 2020



Popular posts from this blog

Big Gold Dreams – A Story of Scottish Independent Music 1977-1989

Disc 1 1. THE REZILLOS (My Baby Does) Good Sculptures (12/77)  2. THE EXILE Hooked On You (8/77) 3. DRIVE Jerkin’ (8/77) 4. VALVES Robot Love (9/77) 5. P.V.C. 2 Put You In The Picture (10/77) 6. JOHNNY & THE SELF ABUSERS Dead Vandals (11/77) 7. BEE BEE CEE You Gotta Know Girl (11/77) 8. SUBS Gimme Your Heart (2/78) 9. SKIDS Reasons (No Bad NB 1, 4/78) 10. FINGERPRINTZ Dancing With Myself (1/79)  11. THE ZIPS Take Me Down (4/79) 12. ANOTHER PRETTY FACE All The Boys Love Carrie (5/79)  13. VISITORS Electric Heat (5/79) 14. JOLT See Saw (6/79) 15. SIMPLE MINDS Chelsea Girl (6/79) 16. SHAKE Culture Shock (7/79) 17. HEADBOYS The Shape Of Things To Come (7/79) 18. FIRE EXIT Time Wall (8/79) 19. FREEZE Paranoia (9/79) 20. FAKES Sylvia Clarke (9/79) 21. TPI She’s Too Clever For Me (10/79) 22. FUN 4 Singing In The Showers (11/79) 23. FLOWERS Confessions (12/79) 24. TV21 Playing With Fire (4/80) 25. ALEX FERGUSSON Stay With Me Tonight (1980) 1. THE REZILL

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) 1. THE STONE ROSES    Don’t Stop ( Silvertone   ORE   1989) The trip didn’t quite start here for what sounds like Waterfall played backwards on The Stone Roses’ era-defining eponymous debut album, but it sounds

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug