Shakespeare Plays Available in Video Format
Scholars Online Educational Resources


All’s Well That Ends Well
Antony and Cleopatra
As You Like It
The Comedy of Errors
Henry IV, part 1
Henry IV, part 2
Henry V
Henry VI, part 1
Henry VI, part 2
Henry VI, part 3
Henry VIII
Julius Caesar
King John
King Lear
Love’s Labour’s Lost
Measure for Measure
The Merchant of Venice
The Merry Wives of Windsor
A Midsummer Night’s Dream
Much Ado About Nothing
Richard II
Richard III
Romeo and Juliet
The Taming of the Shrew
The Tempest
Timon of Athens
Titus Andronicus
Troilus and Cressida
Twelfth Night
Two Gentlemen of Verona
The Winter’s Tale

Available versions

1978: Philip Casson

1983: James Cellan Jones

1989: Richard Monette

The Comedy of Errors
1989: Richard Monette

This is one of those filmed from the Canadian Stratford festival, and it’s elegant and polished, but also quite demonstrably something filmed during a live performance (or a sequence of live performances). It is very mannered: it’s delivered in a broad spapstick manner reminiscent of the commedia dell’arte — full of visual gags, fast patter, and gestural humor, which really fits the play as it was written. Occasionally the characters will hold up signs. Sometimes they’ll indulge in a fit of hiccups and belches. The only thing I can think of that’s on the same wavelength is probably the version of The Taming of the Shrew with Marc Singer and Fredi Olster from the American Conservatory Theater (1976). The latter is somewhat more athletic and faster-paced, but it’s a delight to watch on its own terms.

In addition to the basic style of delivery, the play is costumed (for no apparent reason) in late-eighteenth-century garb, and accompanied (equally inexplicably) by snippets of Bach, most of it sung by the cast in a way reminiscent of the Swingle Singers. (One can measure the drunkenness of certain characters by the degeneration of their ability to sing the music.) Again, it adds to the whimsy of the whole, and it certainly doesn’t really take away anything important from the play. It’s not clear that there was anything really important to it to start with, in point of fact. A play like this doesn’t really require a lot of deep thought.

One interesting feature of the production design was to have both of the Antipholi played by one actor for the bulk of the play, and both Dromios (Dromiones?) played by one actor as well, bringing in a second one of each in for the Ephesus pair when they need to be onstage at the same time. Certainly this lends to their plausibility in closeup shots (probably not as much an issue onstage, but the intimacy of the Stratford theater is such that it makes a certain amount of sense).

All in all, it’s hard to take this too seriously, but then again, it’s not clear what a serious rendition of The Comedy of Errors would be like. It’s a redoubled echo of Plautus’s Menaechmi, and it’s a lot of fun...but not a deep intellectual experience. The young Shakespeare is here having fun with whimsical plotting and with the language, but he’s not doing anything deep. Just enjoy it. This mannered and whimsical production reminds you that it’s okay just to do that.

Adriana: Goldie Semple

Aegeon: Nicholas Pennell

Aemilia: Wenna Shaw

Angelo; Second Goth: Douglas Chamberlain

Antipholus of Ephesus: Jerry Etienne (uncredited)

Antipholus of Ephesus; Antipholus of Syracuse: Geordie Johnson

Balthazar: Andrew Jackson

Courtesan: Susan Henley

Dromio of Ephesus: Eric Coates (uncredited)

Dromio of Ephesus; Dromio of Syracuse: Keith Dinicol

Duke of Ephesus: James Blendick

Gaoler: Hubert Kelly

Luce: Kate Hennig

Luciana: Lucy Peacock

Officer: Michael Hanrahan

Pinch: Joseph Shaw

Spanish Merchant: Juan Chioran