COMEDY OF ERRORS REMIXED
Courtyard Theatre
★★★★★
“We feel the actors are truly embedded into the story”
Intermission Theatre is the London platform for young theatre makers. Facilitated by alumni, over ten months a cohort of 40 disadvantaged London youths ages 16-25 take to the stage. Starting with workshops before leading to a final full-length production. This year’s Comedy of Errors Remixed, written by Darren Raymond and directed by Stephanie Badaru, debuts these brilliant performers (with various cast groups performing on different dates) into a modern William Shakespeare radical retelling.
From their native homeland of ‘Shakespeare’, Anthony and Dominique seek asylum in the UK. Unbeknownst to them, their identical twins that they believed to be dead, Ant and Dom, are living there. Only speaking Shakespearean, the twins are quickly mistaken for their London counterparts. Next ensues a hilarious family mix-up and reuniting of modern day English, specifically local London ‘street’, with the underdog Shakespearean text.
Through the lens of immigration scepticism, Raymond builds an accurate story of London today. The scrutinised Shakespearean ‘immigrants’, still technically speaking the same language to us, are cast aside as ill or malicious, especially police forces, struggling to understand them. A simple yet strongly explored story principle that showcases the unity and similarity between asylum seekers, immigrants and natives. That even if raised apart and speaking differently, all ultimately part of the same family, same people, same community.
The piece oozes successful comedy. A talented Anthony and Dominique play the brilliant confused and out of place siblings. Ant and Dom bring dynamic London characters, blamed for their hidden siblings’ actions. Easily distinguishable and amusingly paralleled. They call to Ant’s fiancee Adrianna’s, concerned and rightly unhappy with his perplexing behaviour. The reimagined merchants as London’s black market men bring hilarious repetitive madness. The auditorium constantly roars with laughter, either to them or the childishly nervous police officers.
The chorus, although shy at first, embrace the light of the stage as their energy levels match up and their dialogue in tandem stands out as powerful and funny. Adrenaline might have first taken these young performers to slightly rush, but over their double-casted almost month-long run, a more comfortable stage presence should emerge. Undeniably, the chorus carry a strong commitment to attention, creating their own dynamics and mannerisms, whilst acting as the true storytellers of the performance.
Aiding these budding actors is a perfectly fitting set (Constance Villemot), costumes and tech. With ‘modern costume’ so easily looking unrealistic to actual youth fashion, designer Sheree Paton has made a wonderfully fitting collection. A realistic and visually embracing interpretation to what we can expect the young London actors to wear themselves.
The tech, supported by young company members, provides excellent music choices (sound Pierre Flasse) and lighting design (Rajiv Pattani) to support the chorus amid smooth scene transitions. Much more enjoyable than the typical youth theatre fade to blackout and set reshuffle between acts. The moments between scenes are captivating, entertaining, taking up their own moments.
Most shocking is that this is alumni Stephanie Badaru’s first time directing. Aided by associate director Federay Holmes, the piece reads as exceedingly professional. From the shining students, to the more technical skills of blocking and creative choices that read to that of an already established, experienced theatre maker.
Intermission has created a uniquely impressive experience; this is the midway play between young people and Shakespeare. Breaking out of the strict white-centred school teaching, and meeting kids halfway. Not only in the cleverly crafted script, but the energy on stage. We feel the actors are truly embedded into the story, enjoying Shakespeare – as can be so difficult to do in class. Adapted and listening to their interests, language and opinions: this is Shakespeare for the young generation, with the impressive young amateur production to prove it.
COMEDY OF ERRORS REMIXED
Courtyard Theatre
Reviewed on 28th November 2025
by Charlotte D’Angelo
