Bard Brawl co-creators Eric Jean and Daniel J. Rowe welcome you all to Act V of The Comedy of Errors. We finally made it!
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Stephanie E.M. Coleman, The Bard Brawl
Bard Brawl co-creators Eric Jean and Daniel J. Rowe welcome you all to Act IV of The Comedy of Errors.
Listen to the Bard Brawl podcast.
Reading this week is Gage K. Diabo who is joined in the brawl by Brooke W. Deer, “The Golden Nugget.”
Let’s talk cash money..
The setting for the Comedy of Error – the city of Ephesus – was an ancient trading city whose power rested on the power of its merchant ships. In this way it’s pretty similar to England in the 17th century. It’s also very similar to some other Mediterranean settings like Venice where a certain merchant ends up indebted to Shylock for a pound of flesh.
Some of these mercantile themes crop up even in a early play like Comedy of Errors.
What’s the setup?
Egeon, father of Antipholus of Ephesus and Syracuse, was found trespassing in the city while searching for his lost son(s). The punishment for that crime is death. Egeon’s story moves the duke but he states that he cannot change the law. However, if Egeon can somehow find his son and come up with bail money then he can go free.
Antonio mentions basically the same thing in Merchant of Venice but explains that the reason the duke cannot overrule the law when confronted by a sad story is that mercantile societies rely on the supposed impartiality of the rule of law:
The duke cannot deny the course of law.
For the commodity that strangers have
With us in Venice, if it be denied,
Will much impeach the justice of his state,
Since that the trade and profit of the city
Consisteth of all nations. (Merchant of Venice, III, iii, 26-30)
Money keeps changing hands in other way during the play. There’s the whole plot around a gold chain. The merchant keeps asking the wrong Antipholus for cash, the chain is given to the wrong one. The goldsmith needs the payment because he owes money to the merchant who is about to set off for Persia. Seeing as Antipholus doesn’t seem willing to pay, the goldsmith tries to have him arrested for not paying his debts.
The idea of bonds is paramount. It<s not just a matter of keeping one’s word and being honest. It’s also a matter of being good for it, of paying up when the time comes.
Here’s what we chose to read for you this week.
Act IV, scene i (lines 1-84): “You know since Pentecost the sum is due“
Act IV, scene iii (lines 1-67): “There’s not a man I meet but doth salute me“
Let us know how we did!
Here’s a link to the CBC article discussed in the pod about Indigenous authors trumping the bard in one teacher’s classroom.
And here’s a link to the Wikipedia article for Aimé Césaire’s re-write of The Tempest. (There’s a link on the Wikipedia page to an English translation of the play.)
See you next time!
Brooke Deer (and sister Jessica), brawling Comedy of Errors.
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The Comedy of Errors is one of Shakespeare’s greatest physical farces, full of lively action, touching love stories, reconciled families and wonderful roles for both men and women.
It is also his earliest comedy.
The Shakespeare Kelowna production, which wraps Sunday, although starting slow and draggy gained energy and ended in a hilarious conclusion, which had the audience laughing and applauding.
Matt Gunn in his first acting role gave a strong performance as Antipholus of Ephesus, and he steals the show.
Craig Paynton and Alyosha Pushak are the Dromios, while Matt Gunn and Mike Minions are the Atipholi (plural of Antipholus) in Comedy of Errors. Catch it this weekend. (courtesy Shakespeare Kelowna)
*If you want to understand who everyone is in the play and wonder why there are two characters named Antipholus and two called Dromio, check out the Bard Brawl podcast on the same play.
Both of the Dromios (Craig Paynton & Alyosha Pushak) were fantastic with their over-the-top physical theatre and crazy antics giving the play the much-needed zaniness. They are the key comedic performances in the play and without a solid Dromio (or two), the play falls very flat.
Corrine J. Marks appeared late in the second act but gave a forceful portrayal as the Abbess Emelia and exuded confidence with her commanding presence. The Hallelujah Chorus was a nice touch too.
The decision from directorStephen Jefferys to use music by the Barenaked Ladies played throughout the play gave it the modern touch which was alright, but I was not too impressed with the slang and would have preferred they stick to the original language.
Mentioning Justin Trudeau?? Come on now!
I will miss the Shakespeare Kelowna offering in the vineyard in August but the RCA Mary Irwin Theatre is a cozy venue and brings the audience close to the action so you feel part of the play.
Check this one out anon.
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Welcome back Brawlers to Act III of The Comedy of Errors.
Listen to or download the bard brawl podcast of act III. New Soundcloud page here.
This week we talk proto-feminists, servitude and abuse. And yes, this is somehow still a comedy and this is all very funny, right?
First, we take a look at our twinned servants as they face off in a battle of words to gain access to Antipholus of Ephesus’ house. Dromio of Syracuse and his master are inside Antipholus of Ephesus’ house, but the rightful master has been locked outside while his wife thinks the wrong Antipholus is her husband.
Hilarious.
While this is happening, Antipholus of Syracuse is inside the house macking on ‘his’ wife’s sister, Luciana. She’s freaked out that he brother-in-law is creeping on her and keeps trying to get Antipholus of Syracuse to act like a proper husband. (In this case, like Antipholus of Ephesus.)
I guess it’s kind of reassuring to think that Antipholus of E. might be a pretty decent husband because Adriana deserves it. She and her sister certainly put up with a lot of crap throughout the play for the sake of these two Antipholuses. (Antipholii? Whatever.)
After being brushed off by Luciana, and being forced to play husband to Adriana, Antipholus of Syracuse again describes the city of Ephesus as some sort of dangerous magical place filled with witches and mermaids.
That’s some pretty strongly gendered language for a play in which two sets of men spend all of their time confusing the hell out of all the women around them.
So feel free to follow along!
Act III, i (31-85): “Maud, Bridget, Marian, Cicel, Gillian, Ginn!”
Act III, ii (1-69): “And may it be that you have quite forgot”
Act III, ii (116-124): “There’s none but witches do inhabit here”
Have a listen and tell us what you think of our twinned twins! Tune in next week for Act IV!
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Bard Brawl co-creators Eric Jean and Daniel J. Rowe welcome you all to Act II of The Comedy of Errors.
Listen to the Bard Brawl Podcast here! or Here!
Hey, why doesn’t this play work in film? Something to do with sweat spray from slapping the Dromios?
I have no idea. But our very own Gage posits an answer to that question. You’ll need to listen to get the skinny.
If you want to read about a stage version that managed to really make this play work, check out this review.
This week, we read the following parts from act II:
Act II, i (14-43): “There’s none but asses will be bridled so.”
Act II, i (52-80): “Why, mistress, sure my master is horn-mad.“
Act II, ii (82-123): “Ay, ay, Antipholus, look strange and frown”
Feel free to follow along and delicately correct our pronunciation while giving us slightly patronising smiles from behind your Complete Works.
Oh, and just look who showed up to read with us.
Joining the Bard Brawl as a reader today is Sabrina Daley.
Also along for the ride again is Gage K. Diabo.
Because we know you’re just too shy to ask but are dying to know, here’s a famous line from this act to memorize:
“How many fond fools serve mad jealousy” – Luciana.
You’re welcome. There may be a quiz in a few weeks. Just saying.
Here’s a link to Shakespeare Kelowna, a company that will be putting on Comedy of Errors May 17-28. If you’re in the area, you should go check it out. If you know of any other companies staging Comedy of Errors, let us know. We’d love to get the work out!
Catch us next week as we continue to get lost in the side-streets of Ephesus with our Dromios and Antopholi! (Antipholuses? Whatever.)
Stephanie E.M. Coleman, The Bard Brawl
Stay in Touch Brawlers!
Follow @TheBardBrawl on Twitter.
Like our Facebook page.
Email the Bard Brawl at bardbrawl@gmail.com
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Or leave us a comment right here!
Stephanie E.M. Coleman, The Bard Brawl
Welcome to Act I of The Comedy of Errors brought to you by the Bard Brawl. And happy birthday, Will!
We think it’s your birthday, anyway. Although Google may disagree or else feels that you’re not important enough for a doodle this year. I mean, you were baptised on the 26th of April so April 23rd seems like good enough of a guess, right? It also happens to be the day you died on. Weird.
Well, we promised it, and at last we’ve delivered.
Nope, once again it’s not act V of Titus Andronicus, even though you promised you wouldn’t bring it up again.
It’s a brand new play with a brand new Bard Brawl format. Instead of reading out each act of the play in its entirety, we’ve picked out some of our favourite bits. Kind of like a sports highlight reel but unlike this shameful display, or this one, there are no losers and the commentators don’t speak in those awful sports jock radio voices.
In between these speeches, which will be read by a revolving cast of Brawlers, our Bardic talking heads will try to point out what we think is interesting, noteworthy or just plan awesome about each act.
So grab a listen, subscribe and tell us what you think as we go pound for pound with the birthday boy!
Download or listen to the podcast here or subscribe on iTunes.
Welcome reader Gage K. Diabo for the Comedy of Errors.
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Welcome Bard Brawlers. We are back and will release the first volume of our podcast next week. The play? The Comedy of Errors, Shakespeare’s first comedy and in the running for least plausible plot of all time.
Before you join us in our new format podcast, which will be released next week, feel free to watch the BBC version of the play staring Who frontman Roger Daltrey. It’s pretty good. Here’s part one, with the others all on the site.
Actually, there’s not too much in terms of adaptations of this play especially in film. It is a decent play to see live however. I’ve seen it once at Bard on the Beach, as has A.D. Rowe, who caught the steam punk version, which he liked. It’s pretty funny.
Here’s Ms. Lane’s six-minute take on the plot.
That should give you a taste of the play, and we’ll be back in to rip out the first act with dramatic readings and all.
Talk to you then.
DJR.
Stay in Touch Brawlers!
Follow @TheBardBrawl on Twitter.
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Email the Bard Brawl at bardbrawl@gmail.com
Subscribe to the podcast on iTunes
Or leave us a comment right here!
