Review by Daz Gale
⭐️⭐️⭐️⭐️
If you settle in for a night at The Globe at the moment, you will enjoy the return of an acclaimed production of William Shakespeare’s The Comedy Of Errors. However, that is not the only theatre in London telling that story at the moment as the always ambitious and exciting Upstairs At The Gatehouse in Highgate are presenting a revival of Rodgers & Hart’s The Boys From Syracuse, based on the same story. With London audiences spoiled for choice at the moment, would there be a risk of mistaken identity if you saw the wrong one in error or would both productions prove to be equally enjoyable?
Before there was Rodgers & Hammerstein, there was Rodgers and Hart, with the pair working on 28 musicals together. One of them was The Boys From Syracuse, debuting on Broadway in 1938 and not hitting the West End until 1963, with an Academy Award-nominated movie adaptation created in between productions. Said to be the first musical based on a Shakespeare play, it takes place in the ancient Greek city of Ephesus where two sets of long-separated identical twins get themselves involved in a case of mistaken identity when two of their wives mistake the wrong men for their husbands.
George Abbott’s book perfectly takes the essence of The Comedy Of Errors and reimagines it into this story, retaining all of the madness and hilarity and, in some cases, amplifying it. While essentially, it is the thinnest of plots which could all be resolved in a matter of moments, it is the ridiculousness of the unlikely situation that adds to the fun, immersing you in a way that you can’t help enjoying. Richard Rodgers music and Lorenz Hart’s lyrics create a wonderful and timeless variety of numbers, with ‘Falling In Love With Love’, ‘This Can’t Be Love’ and ‘Sing For Your Supper’ among the beautiful classics present in the story.
The intimate Upstairs At The Gatehouse has proven itself time and time again to be a pursuer of exciting programming, seemingly pushing past the preconceived limitations and constraints of their small space with ambitious programming. This production of The Boys From Syracuse is the perfect example of what the little theatre that could can do. Mark Giesser’s playful direction perfectly utilises the space for all of its strengths, always with a knowing wink to the audience as it teases breaking the fourth wall and having a Hell of a time making its cast run laps around the space transforming from one character to the other. The inspired way all of the characters are brought together towards the climax, despite only having one actor for two roles (no spoilers from me) was a joyous way to wrap up the story, ensuring it all ends on a high.
In regards to production value, a great set design full of some humorous sight gags set the bar high, with Alice McNicholas’ elaborate costume designs impressing with their detail. Smart yet simple ways to accentuate the subtle differences in characters played by the same actor (employing a quick change reversible outfit) was a testament to how well-thought-out and executed this production is. The Boys From Syracuse is a big and colourful production and every visual aesthetic ensured this was delivered, with a special mention going to the beautiful, matching make-up adorned by the cast.
Speaking of the cast, this production is lucky enough to be full of some incredibly talented performers. John Faal delighted in his dual roles of Antipholus of Ephesus and Antipholus of Syracuse, creating not one, but two double acts with Brendan Matthew as the two Dromio’s. With his comic timing and larger-than-life portrayals, Matthew regularly stole scenes, ensuring all eyes were on him in a wonderfully exaggerated performance. Well, technically TWO wonderfully exaggerated performances. Part of a fantastic cast, this was the performance I left the theatre remembering.
Caroline Kennedy is another highlight as Adriana, demonstrating a remarkable singing voice and filling the space with undoubted star power. Karen Wilkinson is another standout with her comedic turn as Luce providing some of the bigger laughs of the evening. The two ladies were part of one of the musical highlights in a rousing ‘Sing For Your Supper’ with Kennedy’s ‘Falling In Love With Love’ truly mesmerising to witness.
The Boys From Syracuse is bold and over-the-top with this production bringing this out beautifully. Never deterred from the limitations of the smaller space, this was a production that maximised its opportunity, pushing the ambition of Upstairs At The Gatehouse to the top and showcasing what it can do at its best. While it may not have been perfect in every respect, it was still a highly enjoyable production that consistently impressed. It definitely isn’t a case of mistaken identity – London is currently blessed to have two fantastic productions of the same story,
The Boys From Syracuse plays at Upstairs At The Gatehouse until 29th September. Tickets from www.upstairsatthegatehouse.com
Photos by Flavia Fraser-Cannon
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