The Bomb-itty of Errors brings vitality to Shakespeare with a fresh new adaptation.
By Irene Enlow
A frenzied, funky take on William Shakespeare’s A Comedy of Errors, Riverside Theater’s The Bomb-itty of Errors is a wild ride that will warm the heart.
Bomb-itty is an “ad-rap-tation” that originally débuted Off-Broadway in 2000. It delivers a unique take on the tale of four separated siblings who create chaos in their wake when their worlds eventually collide. There have been many attempts at shaking up Shakespeare’s works, some more successful than others, but Bomb-itty bravely embraces its own, vibrant vision, while still managing to stay true to the roots of Shakespeare’s original work.
A great deal of the play’s charm comes from the bare-bones cast — made up of Felipe Carrasco, Zach Twardowski, Barrington Vaxter, and Chris Walbert — who expertly take on numerous roles requiring them to feverishly dance, rap, and sing their hearts out, often at the same time and almost always in some outlandish costume.
Despite the challenges of such a performance, you can tell the actors are enjoying themselves.
“I would say my favorite thing about [the play] is that I get to play all these rich characters in one 90-minute show,” said Carrasco, who plays Dromio of Ephesus. “This doesn’t happen that often. They all have very strong needs in the play and are going through some rough yet hilarious stuff. Finding the Luciana, Dromio, and Cop, within myself, has been some of the most fulfilling work I’ve done since coming to the theater.”
Accompanied by DJ One Way, a professional DJ who keeps the beats pumping throughout the night, the actors ensure the audience is engaged, laughing, and clapping for the duration of the play.
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“This form is so unique,” said Walbert, who plays Dromio of Syracuse. “Musical theater as a genre is so emotionally intense that I think it can turn a lot of people off to it. This style takes that energy and doesn’t simply present it to an audience but actively integrates them into the performance, and I think that’s such a powerful tool for theatrical experience.”
Bawdy humor and physical comedy prevail throughout the night and are reminiscent of Shakespeare’s original, playful style. Beneath it all is a story of love for family — love that prevails even in the face of misunderstandings and personal flaws.
“I hope [the audience takes] a sense of family and togetherness from the play,” said Postell Pringle, who makes his directorial début with Bomb-itty. “I want them to have a sense of what it means to ‘find oneself.’ I hope they come out of the show bobbing their heads, singing along, and itching to dance. But mostly, I hope they laugh and have fun. If they do the latter, then I’ll know I’ve done my job.”
The Bomb-itty of Errors has something for everyone. I attended the play after just completing an intensive course on Shakespeare, with a friend who had only read Romeo and Juliet way back in high school. Both of us walked out of the play laughing and enlightened, and it was easy to see that most of the audience did, too.
