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

COMEDY OF ERRORS REMIXED

★★★½

“bursts with colour and complexity”

Picture a play about South Asian women and you might expect exoticism, stereotypes or tokenism. ‘Brown Girl Noise’ flips the script, putting British South Asian lived experience front and centre. The writing could dig deeper, but the potential in this fierce, defiant and important piece is undeniable.

Four South Asian women meet in a casting room, waiting to audition for yet another stereotyped role. As the clock ticks by, they start to bond over the typecasts that haunt their careers. When an hour’s delay is announced, they face a dilemma: stick to their principles and leave; or stay for the chance of some much-needed work. No-one’s in a rush to go home. Cue a riotous hour of satirical, soul-searching role play, upending convention with irreverent flair and giving voice to the silenced sides of British Asian life.

Written and performed by Kaya Uppal, ‘Brown Girl Noise’ is a laugh a minute. With punchy, no-holds barred humour, expect some hilarious insights into the typecasts and tropes British Asian actors might be served in a series of cutting ‘chapters’. From ‘Snow Brown’ (goodbye beloved Disney character, hello unrealistic beauty standards), to ‘Can I pull you for a chaat’ (think Love Island, but South Asian), beneath each chapter’s irreverent image are real and important issues, such as colonialism, racism, cultural dislocation and not being ‘brown’ enough. It even voices unspeakable parts of the culture, such as shared silence and shame.

That said, for a play demanding deeper portrayals of British Asian women, the characters feel a little thin. Our four heroines adopt onomatopoeic monikers; each bares their soul but a lack of development dulls the impact; the ending roars with a revolution we never quite reach during the play. But with a little more humanity and depth, this ‘noise’ could go nuclear.

Zarshaa Ismail’s direction shines in many respects but also leaves a little to be desired. The women feel fresh, if a little underdeveloped, and interpersonal dynamics could be tightened to bring out more light and shade. The inventive use of space and levels add dynamism and heightens the women’s rebellious side, with animated blocking keeping things interesting. The pacing could be punchier, with some of the spicier sections feeling a beat behind. Most importantly, the transitions between audition room and role play could be much clearer. Not all of them land, leaving the audience playing catch up, and blurring commentary with comedy in a way that can feel unintentional.

The design delivers overall. The blocks of colourful scarves serve as both passageway and partition to freedom of expression. Rajiv Pattani’s lighting heightens zany moments and deepens more sombre points, though more could be done to clarify transitions to and from the audition room. The costumes effectively represent the individuality of each character and avoid tropes. Mrin Somani’s sound design perfectly accentuates the action with sound effects as well as both reverent and ironic use of South Asian music. Kiren Virdee’s movement brings scenes to life and grounds them in the here and now.

This all-female, all-Asian cast fizzes with life. Ayesha Sharma’s Hum is the heart of the piece, both raw and rooted in her quiet wrestle with identity and belonging. Misha Domadia’s Whisper shifts from uptight to uproarious, before stepping into her sassy pride (especially in her hometown!). Though the troupe’s repartee could be a little snappier at times, their vibrant portrayal of a wealth of complex issues remains relatable and honest throughout.

Anything but quiet, ‘Brown Girl Noise’ bursts with colour and complexity, reframing British South Asian identity with daring clarity and brilliant humour. With a little polishing, it’ll be unstoppable.

Tag Archives: Rajiv Pattani

COMEDY OF ERRORS REMIXED

★★★★★

Courtyard Theatre

COMEDY OF ERRORS REMIXED

Courtyard Theatre

★★★★★

“We feel the actors are truly embedded into the story”