Journal 22: Le Musical.
Having read both Acts One and two in Comedy of Errors I would have to say that I would rather a presentational performance versus a representational performance. From reading both acts I can already see that order and reason are not very prevalent within the play so far, and in that perception I find it pleasantly absurd and comical. I've seen one version of Comedy of Errors put on before, and it was a musical adaption in the mid-1970's starring Judi Dench as Adriana. Throughout the entire performance I found myself laughing hysterically in some parts. I feel that if one were to put on Comedy of Errors with representational theater it could be faced with the large possibly of the play being more serious than humorous. Or maybe I am completely wrong. I suppose I'll leave that thought up to scholars. Anyhow. The synopsis deems far too amusing in my eyes to take that route. Call me bias for having seen a musical version, but I find myself jonesin' for some comedy, and even some musical numbers.
I visualized scene 2 in act 1, where Antipholus of Syracuse and Dromio of Ephesus begin interacting with each other after the Merchant of Ephesus exits. I envision the entire scene as a musical number (but not too over the top), with occasional pauses for regular dialogue delivery, along with some very sensational and theatrical movements. In my head I can picture Dromio as an average looking man with some subtle but expressive characteristics that make him stand out to the audience. When he says "She is so hot because the meat is cold/The meat is cold because you come not home/You have no stomach, having broke your fast/But we that know what 'tis to fast and pray/Are penitent for your default today." I can really see Dromio singing this. The rhyming scheme flows really well and to me, that makes it easy material to transform musically. Toward the end of the scene when Antipholus beats Dromio, is a moment in the scene that I find comical. No, I don't really find violence to be funny, but perhaps it is what Antipholus says to Dromio that adds a certain comedic element. After all, there seems to be a lot of beating going on this play. Why not "spice" it up a bit?
"What, wilt thou flout me thus unto my face, being forbid? There, take you that, sir knave!" I find that this could easily be delivered in a half-serious manner, with dramatic arm movements as he begins beating Dromio, and Dromio reacting in a half-serious/humorous manner as well when he replies "What mean you, sir? For God's sake, hold your hands!" Maybe he could even dramatically "weep". Perhaps a little Monty Python-esque?
I feel that engaging the audience in each moment of the play via presentational theater really helps create the characters and plot of the play. Some plays are meant for representational theater, but with something like Comedy of Errors I feel that challenging the audience to keep up with the idiocy (if you will) of the plot will enhance their perceptions for the better. If it were to be performed as a musical the vocal changes with the song numbers, the prop changes, and costume changes, etc will really help the play flow strongly through right to the end. Who doesn't enjoy watching people dance and sing in flamboyant costumes?
Awesome!
I would definitely come see this as a musical, and I can envision that, too, although I pictured the Antipholuses as more serious, less likely to break out into song blokes.
I also agree that the play is clearly not real heavy on order and reason. Two guys go looking for their identical twins, yet when they find them, they can't figure it out. I imagine in real life it would go more like this.
Ant1: Okay Dromio, go take my money and do that thing.
Exit Drom1 enter Drom2
Drom2: Come home for dinner with your wife.
Ant1; I don't have a wife. Gee, I wonder if this is Dromio's identical twin?
I mean, the play's hilarious, but the characters aren't real quick on the uptake.
Erin Kay Schulz
understatement
I think Jennie's statement that the play is short on order and reason is something of an understatement, so understated I laughed aloud. It's nice to start the work day with a good chuckle. Nicely put. But that's also what makes it work, at least in part. With regard to recognizing twins, there is a general rule in writing of any sort that a plot line can be structured on some bizarre coincidence, but only one, not a whole series. In that regard, it works (remember, we also need to suspend disbelief to some degree) despite being, perhaps, less than realistic, lacking in order and reason. Bradley
Bradley
Nonsensical
I find myself understanding this play far more easily than I have his others. In the process of reading I am not constantly stopping to decipher what words are in front of me. For the most part the scenes make much more sense to me (as well as the dialogue), hence making the play more enjoyable. Perhaps it is the lack of order and reason that I enjoy it so much. I suppose nonsensical subject matter makes more sense to me. The lack of structure adds something more realistic for me to the play, while involving some less than realistic elements. Dramatic irony is definitely a nice element to have when reading or watching a play as well.
Jennie
character driven
One thing that makes this play a little easier to make sense of is that it is more about the interaction between the characters than it is plot driven. with Richard, to fully "get" it, it helps to understand a lot of the back stor, the reading between the lines. That requires knowledge of history. To a lesser degree, that's true of the Merchant of Venice as well. With this play, we can simply sit back and watch as characters interact. It doesn't matter where they are from, what their history is, or any of that, because we get the exposition of the situation up front and from there the story unfolds. We have to pay attention, but that's about it. Bradley
Bradley
Last line
I just have to point out that I laughed at your last line. Nice. I like the idea of a musical for this play. But at the same time, it's hard to sing when everyone else is laughing so much. It's especially hard on the band. So the idea of it being interspersed with dialog makes sense. I think this play is just better and showcases Shakespeare's skill more if it is completely hammed up and the jokes can speak for themselves.
-Renee Ward
Skills...
Thanks, Renee! I really enjoy musicals, but definitely when they are not over the top. I find myself more pulled toward musical scenes where the music is playing in the background and for the most part, the actors are conversing normally. You bring up a good point that it is hard on the band if the audience is laughing the whole time. I've heard people refer to Comedy of Errors as one of Shakespeare's worst plays and I can say I don't really agree with that at all. Like you said, I think this play really showcases his skill.
Jennie