The Comedy of Errors
Recently Updated
The Comedy of Errors: A Musical Farce on the West End
The Comedy of Errors, a musical with a book and lyrics by Trevor Nunn and music by Guy Woolfenden, premiered at London’s Aldwych Theatre in the West End on December 14, 1977, following its debut at the Royal Shakespeare Theatre in Stratford-upon-Avon on September 29, 1976. Directed by Nunn and produced by the Royal Shakespeare Company (RSC), this lively adaptation of Shakespeare’s twin-filled farce ran for a limited season in London, earning the 1977 Laurence Olivier Award for Best New Musical. Starring Judi Dench as Adriana, Roger Rees as Antipholus of Syracuse, and Mike Gwilym as Antipholus of Ephesus, it blended Elizabethan comedy with Mediterranean flair and a buoyant score. Its West End triumph marked a high point in the RSC’s 1970s legacy, offering a fresh, musical take on a classic that still resonates with theatre fans.
Origins and Journey to the West End
The musical sprang from Nunn’s vision to reimagine Shakespeare’s earliest comedy, first staged by the RSC in Stratford with choreography by Gillian Lynne and designs by John Napier. After a successful run and a week-long stint at Newcastle’s Theatre Royal in 1977, it transferred to the Aldwych, a frequent RSC London home. Woolfenden’s score, inspired by Greek composer Mikis Theodorakis, added a Zorba-like zest, evolving from an initial hurdle critic Michael Billington noted its early drag on momentum to a seamless fit by the West End opening. Backed by a stellar cast including Michael Williams and Nickolas Grace as the Dromios, its Olivier win over *Privates on Parade* and *I Love My Wife* underscored its inventive charm, a testament to Nunn’s knack for theatrical alchemy.
The Plot: Twins and Tangles in Song
Set in a tourist-trap Ephesus with a modern Mediterranean twist, the story follows two sets of twins Antipholus and Dromio of Syracuse, and their Ephesian counterparts separated at birth in a shipwreck. Egeon, their father, faces execution unless his sons are found, while Adriana, wife to Antipholus of Ephesus, mistakes the visiting Syracuse twin for her straying husband. Cue a whirlwind of mistaken identities: Luciana, Adriana’s sister, is wooed by the wrong Antipholus; debts and arrests pile up; and a courtesan adds to the chaos. Song and dance amplify the farce think “Hasa Diga Eebowai” energy minus the profanity until a joyous reunion ties up the madness, blending Shakespeare’s slapstick with musical mirth.
Standout Performances and Staging
Judi Dench’s Adriana was a fiery anchor, her RSC gravitas lifting the comedy, while Roger Rees and Mike Gwilym as the Antipholuses juggled charm and confusion with flair. Michael Williams and Nickolas Grace’s Dromios delivered physical hilarity, their twin antics a highlight. Nunn’s direction, paired with Lynne’s Zorba-inspired choreography, turned Napier’s sparse set think docks and arches into a kinetic playground. Philip Casson’s 1978 TV film preserved its vibrancy, with Dench’s “pure magic” (*Billington*) stealing focus. The Aldwych’s intimacy suited its ensemble energy, though its short West End run reflected the RSC’s seasonal model rather than mainstream musical staying power.
Musical Score and Reception
Woolfenden’s score fused mock-Theodorakis flair with danceable rhythms numbers like the opening ensemble and comedic interludes propelled the farce without overshadowing Shakespeare’s text. Irving Wardle noted its lack of hummable exits, yet praised its “springboard into dramatic song and dance.” Critics warmed to its integration by the Aldwych debut, with *The Oxford Handbook of the British Musical* calling it an RSC “high point.” Audiences cheered its wit and verve, though its niche appeal Shakespeare meets musical comedy kept it from rivaling *Annie*’s commercial heft. The 1978 TV airing and Olivier nod sealed its critical success, a bold experiment that paid off in accolades if not in long-term West End tenure.
Legacy Beyond the West End
Post-Aldwych, *The Comedy of Errors* toured globally Newcastle, Japan, beyond its RSC pedigree ensuring a lasting echo. The 1978 ATV broadcast, available on DVD, immortalized its cast and concept, while Ariel Music notes its worldwide stagings. Unlike *The Boys from Syracuse*, a 1938 Broadway take, Nunn’s version leaned into theatricality over pop appeal, influencing later Shakespearean musicals like *Return to the Forbidden Planet*. No major West End revival has followed, but its Olivier win and cult status endure, a quirky cousin to flashier musicals. Its blend of high art and low farce keeps it a theatrical footnote beloved by purists, less known to casual crowds.
Why The Comedy of Errors Endures
*The Comedy of Errors* thrives on its audacious marriage of Shakespeare’s chaos to musical exuberance, a farce that sings where others merely stumble. Dench and the RSC’s pedigree lend it gravitas, while Woolfenden’s score and Nunn’s staging inject infectious joy. Its West End run, though brief, showcased a daring pivot from straight play to song-and-dance satire, proving the Bard could boogie. In a Theatreland of grand spectacles, its clever restraint twins, tangles, and all offers a timeless giggle, a reminder that even the oldest comedies can find new rhythm. Over four decades on, it’s a West End whisper that still hums with mischief and melody.