The Comedy of Errors

I saw the Comedy of Errors with Roger Daltrey. I totally disagree. I thought Daltrey was very entertaining and acted brilliantly in it. Also got to see him on stage in NYC acting as Scrooge in a Christmas Carol about 7 years ago. He was good in that role, too.

In addition to being a well known singer, I believe he shows a lot of versatility with his acting, also. I'm guessing he's gotta be on the other side of 60 now, but he still looks good. He was on Letterman recently with Peter Townshend, and although he's beginning to show age, he still keeps himself in great shape.

While a lot of rock stars of his era were poisoning their bodies with drugs and alcohol, he seemed to steer clear. There were times he fought with his own band mates over the alcohol and drugs they were using and killing themselves with(Two of them died using drugs). He stayed away and looks great at his age compared to how bad others look from his era who were lucky enough to survive their drug addictions.

This play is not as feeble as, say, "Two Gentlemen of Verona," but it's not terribly strong either. Directors have a tendency to throw in distractions to up the level of interest: Trevor Nunn threw in nine songs, Greg Mosher added a clown and a drag queen, and here James Cellan Jones throws in a mime troupe.

I don't care what his rationale was, there are three things in life worth avoiding: folk dancing, incest and commedia dell'arte. The mimes are superfluous, annoying and nowhere near as interesting as they are supposed to be.

Getting past that, this is neither the strongest nor the weakest of the BBC Shakespeares. The set is a cheerful stylization of a tiny town on the Aegean, with a surprising amount of atmosphere. It's easy on the eyes and is also built in the round, so no matter which way the camera looks, you remain solidly within the physical setting.

Cyril Cusack and Wendy Hiller get the acting honors, with a tip of the hat to Charles Gray.

The master and servant pair from Syracuse are relaxed and benign, those from Ephesus are sour and prone to violence. Since the TV camera would not forgive two sets of actors pretending to be identical twins, one single actor plays both Antipholi (?), and another both Dromios. Michael Kitchen labors over a case of flu to differentiate his characters. Roger Daltrey is sincere and good-natured, but way out of his depth here and best passed over in silence.

The trouble, as so often with farce, is the pace. Though things start off promisingly and finish well, that droop in the middle is serious.

So, not a show for the ages, but not the worst thing ever to happen to the Bard.

"The Comedy of Errors," a 1983 TV movie of William Shakespeare's early funny play, is a fun version that keeps the main idea of the original words while adding more things to see and do that make it more funny.

Director James Cellan Jones does a good job of showing the crazy and silly world of "The Comedy of Errors" with skill and smoothness. The movie happens in the city of Ephesus, where there are a lot of mix-ups, silly actions, and jokes with words, all done by a great group of actors.

The movie is about two sets of twins who look the same and were lost when they were babies, Antipholus of Syracuse and Antipholus of Ephesus, and their helpers, who are both called Dromio. The story is about what happens when they all come to the same city and get confused for each other.

The main actors, Michael Kitchen and Roger Daltrey, both do a great job. Kitchen, who plays both Antipholus roles, shows the confused, annoyed faces and says the smart speeches very well. Daltrey, who plays both Dromios, adds to this with his amazing funny actions and saying things at the right time.

The other actors also do a good job, especially Suzanne Bertish and Jenny Agutter, who play Adriana and Luciana. They make their characters interesting and lively.

The things that make the movie look good, like the places and clothes, are good too. They make it look like the play's place near the sea. The music, made by Ilona Sekacz, makes the movie feel light and silly.

But, the movie's loyalty to the original words might be hard for some viewers who don't know Shakespeare's language well. Even though the actors and the situation make the story easy to follow, some words might be hard to get or understand.

To end, the 1983 movie of "The Comedy of Errors" is a good and fun way to show Shakespeare's early joke. It has the feeling of the play with a strong group of actors and a director who knows how to make Shakespeare's work funny and lovely. It's a classic that people who like Shakespeare, and people who like good comedy, will like a lot.

I was a bit worried at the beginning, (I just hate 'fire-eaters' in merry crowd scenes..and unfortunately there are jugglers and mimes too,another hate of mine)

So I was tensed from the start.

Luckily it didn't deter me, and I was able to enjoy a great performance from Michael Kitchen, and an amateur but still enjoyable one from Roger Daltry.

OK,the plot is corny, the set minimal.

So what? It's a fun production and I enjoyed it.

(I even smirked a few times)

Not the most crucial Bard Product but recommended all the same!

I know the BBC Shakespeare series has this reputation for being low-budget and boring, but I've enjoyed them, even if the quality isn't always consistent. The takes on the material tend to be creative and inspired, and the lack of flashy cinematography helps keep the focus on the language and performances. Best of all, lesser-known works in the Bard's canon get a chance to shine through this series.

THE COMEDY OF ERRORS is one such piece. An early comedy, it lacks the sophisticated characterizations of MUCH ADO ABOUT NOTHING or A MIDSUMMER NIGHT'S DREAM. There is a heavy emphasis on crude physical humor and the farce gets so intense that it can be an exhausting read. However, this performance is light and entertaining. I was impressed by how the actors made this silly story seem more grounded. There were even elements of pathos the play's text lacks. It just goes to show how different a story can come off in performance as opposed to through the text alone.