Shakespeare References in Stage Fright

Ellen Hart's novel Stage Fright contains a few Shakespeare references. The first reference is to Richard The Third: "There's going to be a cast party afterward at Antonia Werness's home in Kenwood. Next to my annual Richard the Third extravaganza, it will be the event of the season" (p. 9). The second is a play on a line from Hamlet. Ellen Hart writes, "Vanity, thy name is Torald" (p. 17), a play on Hamlet's line "Frailty, thy name is woman" in Act I Scene ii. The second part of that book is titled "A Child Of Spleen," and it begins with a line from King Lear: "Create her child of spleen, that it may live/And be a thwart disnatured torment to her" (p. 67). That comes from a speech Lear gives in Act I Scene iv. Also, the book features a character named Cordelia.

Stage Fright was published in 1992. The First Ballantine Books Edition was published in June 1994.

The Comedy Of Errors (Independent Shakespeare Company's 2026 Production) Theatre Review

The Independent Shakespeare Company opened its new production of The Comedy Of Errors last night in Griffith Park, delighting a large crowd, the park echoing with laughter that seemed to continue even after the performance came to an end. This is just the sort of thing people need these days, a performance that is great fun from start to conclusion. During the pandemic, the Independent Shakespeare Company put together its own film adaptation of The Comedy Of Errors, titled Live At The Porpentine, which was streamed online and later made available on DVD. That adaptation featured some delicious original music by David Melville, music that has been brought into the company's current production, certainly a part of what makes this such a fun experience. Some members of the cast from the film reprise their roles here, including Brent Charles as Antipholus of Ephesus, Bukola Ogunmola as Adriana, Carene Rose Mekertichyan as Luciana, Lorenzo Gonzalez as Egeon, and David Melville as Dr. Pinch. The production is directed by Melissa Chalsma, who also plays Amelia, the Abbess.

There is a bright, festive atmosphere to the playing space, which the audience picks up even before the performance begins. The main platform for this production is painted a sky blue, with yellow stars on it, and with a bench at one end. There is a second platform where the band is set up, that space being the Porpentine, the tavern or club where Antipholus of Ephesus dines. Between the platforms are two carts, one selling fruit and flowers, the other selling ice cream. Even the trees in the areas where the audience gathers are decorated, with pink and orange tulle and other items hanging from their branches. The audience, by the way, sits on either side of the main platform, and before the performance, people were encouraged to make festive lanterns at the tables next to the merchandise booth, a way for the audience to take part in the look of the evening. The set design is by BinhAn Nguyen. This production is set in 1949, on the day of the Festival of Saint Phanourios, a patron saint of lost things, a day filled with hope of recovering lost objects. For this play is about brothers who have lost their brothers, parents who have lost their sons and each other.

The performance begins with music, a song that gives a bit of the back story, working as a Chorus, bringing the audience into the world of the play. Kalean Ung, who was phenomenal as Mephistopheles in last year's Doctor Faustus, is on lead vocals, and she delivers a fantastic performance. The band members are all characters in the play, and Kalean is the text's Courtesan, here listed as the Chanteuse, a role she immediately excels at. During the song, there is a nice added moment where the central characters are introduced, the two sets of twins entering the performance space without noting each other. And, as at a concert, lead guitarist Dr. Pinch introduces the band, a clever and playful way of also letting the audience know who is playing what role, such as "on drums, Angelo the jeweler." Dr. Pinch also helps to set up the situation when he welcomes all visitors, "except people from Syracuse." And though our own reality doesn't intrude all that much into this performance, that is a moment that might make us think of how this country remains welcoming of immigrants from certain countries while having nothing but animosity toward those who hail from other lands. And once that is established, Egeon (Lorenzo Gonzalez) is marched in, bound in handcuffs. When he tells his tale of woe, he has the stage to himself, everyone else moving to various sides. On "two goodly sons," there is a joy in his delivery, and we see the love he has for them. His "warrant me they live" is spoken with passion, his eyes cast to the sky. Lorenzo Gonzalez does a wonderful job with this scene, telling his story not just to his captor but to everyone in the audience, gaining the sympathy and compassion of all. And that includes Duke Solinus (Bernardo De Paula), who not only hands Egeon a bucket with which to collect the money that will save his life, but deposits the first coin into it himself. A wonderful touch. The others follow suit. (And we in the audience can't help but also associate that with the theatre company itself, its members carrying buckets for donations at the end of each performance in order to keep the theatre alive.)

Another humorous touch is that when we are introduced to Antipholus of Syracuse (Patrick Batiste) and Dromio of Syracuse (Trinidad James Sandoval), Dromio holds a newspaper whose headline reads, "Syracusans In Ephesus?" Patrick Batiste does an excellent job on the "drop of water" speech. The audience can't help but feel for him, can't help but want everything to turn out well for him. And no worries, it is a comedy, after all! There is a nice playful bit of business where the money is hidden under Dromio's hat. Then when Dromio of Ephesus (Brian Tran) enters through the audience, Antipholus of Syracuse lifts the cap on "tell me this, I pray," only to discover the money is already gone. Brian Tran is especially good on his "I have some marks of yours upon my pate" speech. After Dromio's exit, the band begins, and Antipholus of Syracuse reacts. It is then that he delivers his "They say this town is full of cozenage." Perhaps, but it is also full of great music, and Kalean sings "I Want More Than Kisses," which is a whole lot of fun. Duke Solinus, again proving himself a likeable fellow, dances and drinks on the stage. And a delightfully placed pause in the song elicits much laughter from the audience.

Bukola Ogunmola and Carene Rose Mekertichyan are absolutely wonderful as sisters Adriana and Luciana. Carene Rose Mekertichyan is especially delightful on her "let your will attend on their accords" speech. On Adriana's "should ourselves complain," Luciana stands, as if to respond, but Adriana motions her to wait. And we can see a history there. Bukola does a remarkable job of being truly upset and sad about her husband, while somehow remaining funny. There is a good deal of physical comedy in this performance, as when Dromio of Ephesus somewhat inadvertently pushes Adriana off her seat so that he himself may sit. And Dromio is hilarious as he recounts his conversation with his master. Similar to some added business at the beginning of the performance, there is a nice moment added in which Antipholus of Syracuse just misses his father, who is still trying to collect money in his bucket. Also, a good deal of the production's humor comes in characters' reactions to each other. Particularly good in that respect are Patrick Batiste and Trinidad James Sandoval, in the scene where Dromio of Syracuse asks his master why he is beaten. Dromio's "man thus beaten out of season" is directed out to the audience, as if he is seeking sense there, not getting any from Antipholus.

When Antipholus of Syracuse sees Luciana, his interest in her is immediately apparent. She enters on Antipholus' "there's a time for all things," which, while being earlier than in the text, feels perfect. Then, while his back is turned, Luciana walks away and is replaced by Adriana. What's wonderful is that Adriana's "Some other mistress" ends up referring to her own sister, without her knowing it, of course. There is a delightful stage image at one point in that scene when Antipholus, Dromio, Adriana and Luciana each occupy one corner of the stage, each separate from the others as the confusion of all grows. A door on wheels is brought onto the stage for the great scene where Antipholus of Ephesus is barred from entering his own home, another opportunity for some wonderful physical comedy, as the actors move the door in clockwise fashion so that everyone can view both sides of the action, a Dromio on either side. At one point Antipholus of Epheus enters with an axe to destroy the door and put an end to this confusion, but others stop him. No one wants the fun to come to so quick a conclusion.

The humor is a big part of the production's success, but there is also a sweet aspect to the performance that is incredibly appealing. The scenes with Antipholus of Syracuse and Luciana are especially strong in that regard. Her reaction to his use of the word "divine" is adorable and wonderful. And they engage in a dance as the band plays. Then on his "far more to you do I decline," she becomes alarmed, removing herself from his arms. On "I will dote," he hands her flowers, drawing her to him again, and on "my food," he grabs a soft-serve ice cream cone from the cart to hand to her. The entire sequence is adorable and endearing, and both actors do excellent jobs. Dromio exits in a rush, but stops to grab something from the ice cream cart. Angelo (William Elsman, who played the other Angelo in 2017's production of Measure For Measure) also stops for an ice cream when he exits. William Elsman is always excellent, and is especially funny when trying to get the money for the chain. The officers (Dave Beukers and Astrid Peterson) that are called upon to make arrests are members of the band, just as Angelo is the band's drummer. After Antipholus of Ephesus is arrested, on his "On, officer," he leads the officer rather than the other way around, a nice touch. And speaking of the band, David Melville delivers a solo that is wonderful. "Your eyes, there were two of them." And Kalean Ung is a total delight in her red dress when singing "Antipholus Is Mad." Anyone who has attended performances by Independent Shakespeare Company knows how funny company co-founder David Melville can be, and some of the most hilarious moments of The Comedy Of Errors are when his Dr. Pinch is on stage with his magic bag. And by that point, there is no slowing the momentum of the action and of the comedy. We are on a great ride. And it ends with one last song, "Everyone's Reunited." Things that were lost are found.

This production of The Comedy Of Errors runs through September 6, 2026. There is one intermission, which comes at the end of Act III. By the way, this might be the final production to be put on in that more intimate space farther up the hill, for it looks like the company's permanent stage in the park will be ready for next summer's productions. When introducing the play, the production's director Melissa Chalsma said that "with any luck," they'd be performing on their permanent stage next year. It's great news that this project will finally see its fruition, but there is something to be said about the wonderful intimacy of the current space, and something to be said for the shade there, particularly during this heatwave.