Millennials Might Claim this is for Them. It’s Not
Shakespeare’s comedies are already chaotic enough on their own. Add 90s music, a “guess the song” dynamic woven through the staging, and a tight 90-minute runtime with no intermission, and you’ve got the Old Globe’s latest rendition of The Comedy of Errors, directed by James Vásquez. And yes—while millennials might try to claim this one as theirs, let’s be clear: the soundtrack belongs to Gen X. From C&C Music Factory to The Cranberries, with Morrissey and Radiohead, amongst other music gems crooning in between, the curation was spot on.
The Comedy of Errors is one of Shakespeare’s earliest—and shortest—plays. It’s a double set of identical twins, separated at birth. Antipholus of Syracuse and his servant Dromio end up in Ephesus, unaware that their long-lost brothers, Antipholus of Ephesus and Dromio of Ephesus, live there. Cue mistaken identities, wrongful arrests, marital confusion, and general “what is going on here?” hilarity.
This particular production leans into the absurdity while keeping the pace snappy. The opening and closing dance numbers set the mood perfectly—choreography and energy so good that the audience was hooked. The condensed piece’s dynamic without intermission feels like a toiur-to-stage evolution from The Old Globe’s Globe for All tour of The Comedy of Errors in 2023, making this one approachable for Shakespeare skeptics and new audiences alike.
The cast brings the mayhem to life with sharp timing and full commitment: Will Blum as Dromio of Syracuse, Gina Daniels as Lady Abbess, Joshua Echebiri as Antipholus of Ephesus, Brandon Micheal Hall as Antipholus of Syracuse, Kevin Orton as Egeon, Daniel Petzold as Dromio of Ephesus, Sarah Stiles as Adriana, and Heather Velazquez—a welcome return to the Globe stage after her lovely turn in American Mariachi (2018). Velazquez and Stiles, as the sparring sisters Adriana and Luciana, completely steal the show. Their comedic chemistry and razor-sharp delivery anchor the production in a way that’s both wildly funny and unexpectedly grounded.
Also in the mix are the talented students from The Old Globe and University of San Diego Shiley Graduate Theatre Program: Danny Adams, Kevin Alicea-Minor, Lance D. Bush, Trevor Butler, Madi Goff, Chris Hathaway, Stephanie Hinck, Conner Keef, Susane Lee, Erick Lindsey, Angelynne “Ajay” Pawaan, Akoni Steinmann, Lisa VillaMil, and Shalyn Welch, who, between stepping into the “bunny rabbit” and opening and closing colorful umbrellas a la Friends, (as well as various references from the show), sparked the performance.
Visually, Lawrence E. Moten III’s scenic design keeps things simple but clever—two stories, a swing, and the star: a lit frame on wheels that actors roll in and out to punctuate entrances and comedic beats. Amanda Vander Byl’s costumes are a delightful early-2000s-meets-late-90s collage: satin shirts, denim layers, long jackets, and a wink to Justin Timberlake’s NSYNC-era wardrobe. Sherrice Mojgani’s lighting got the beat in sync with Melanie Chen Cole’s sound, rounding out a tight, playful production that feels both fresh and nostalgic.
Nathan C. Crocker is responsible for voice and dialect, Alaine Alldaffer, CSA & Lisa Donadio for casting, and Chandra R.M. Anthenill is the production stage manager.
The Globe with this production is Shakespeare with a wink, a bassline, and a beat that will have the audience dancing and humming at least once. A sing-along version should be considered for the future.
Gen X—this one’s for you. Older Millennials, you can borrow it.
Currently playing until August 24.
