The classic 1930s musical by Rodgers & Hart (yes, that’s the same Richard Rodgers who later teamed up with Oscar Hammerstein) The Boys From Syracuse is based on Shakespeare’s The Comedy of Errors.
At the time, as one of the earliest musicals to adapt a Shakespearean play, this production offered a fresh take on a timeless tale of mistaken identity. But now it’s just complex and dull.
The story follows the misadventures of two sets of identical twins: Antipholus of Ephesus and Syracuse, along with their respective servants, Dromio of Ephesus and Dromio of Syracuse. Separated in a shipwreck as children, the twins grow up in different cities, unaware of each other’s existence. When Antipholus of Syracuse arrives in Ephesus, where his twin brother lives, hilarity ensues as mistaken identities lead to a series of comedic misunderstandings. Sorry, did I say ‘hilarity’? I must have read too many press releases. Boredom ensues as a series of increasingly implausible events, any of which would be explained by one of the characters saying ‘But I’m not your husband/wife/servant; why do you think I am?’
As the plot unfolds, the Ephesian Antipholus is married to Adriana, who becomes confused by her husband’s strange behavior. Meanwhile, Luciana, Adriana’s sister, finds herself drawn to the visiting Antipholus of Syracuse.
But it is right to point out some (not all) of the cast deliver extremely strong performances. John Faal delivers a delightful double act as the two Antipholuses, switching from the more serious and brooding Antipholus of Ephesus to the charming and carefree Antipholus of Syracuse.
I’m afraid I walked out at halftime on this one. Sometimes getting home at a decent time is more attractive than sitting through a second half after a dull first half. Maybe it improved. Maybe it didn’t. I’ll never know.