Page 36 - 2018 Festival Edition

THE TEMPEST; THE COMEDY OF ERRORS; JULIUS CAESAR
THE COMEDY OF ERRORS
For Loughran, the inspiration for her gender-fluid approach to the casting of The Comedy of Errors came from the world of the play itself.
While re-reading the text, the director was struck by the “oddness” of some of the language used to describe the city of Ephesus, the home of two of the play’s protagonists. Derided by outsiders as a city of dark forces – of jugglers, sorcerers and fabrication – Ephesus is seen as a forbidden city.
“It’s interesting that these things happen in that world, but the people speaking those lines aren’t from that world – they’re outsiders ... saying ‘that’s what that is’ in a negative way.
“And where does that happen here in our world today – in communities that are marginalized and misunderstood and, currently, one of those commu- nities today is the trans community or the gender- fluid community. ... I was really inspired by the strength and confidence and clarity around identity that I’ve heard articulated by members of these communities.
“What I loved about that idea is it opened up possibilities about casting that I hadn’t previously considered in ways that I was really excited about.”
The play tells the story of two sets of twins who were accidentally separated at birth. In The Comedy of Errors, Antipholus of Syracuse and his servant, Dromio of Syracuse, arrive in fabled Ephesus, which,
For The
unknowingly, is the home of their long-lost – and identically named – twins. As in many Shakespear- ean comedies, the farcical result is a wild series of mistaken identities, false accusations, rampant confusion and, ultimately, a happy ending. Loughran described it as “the nature of identity and discover- ing yourself in unexpected places.”
But with the cross-gender casting – Beryl Bain plays Dromio of Syracuse and Jessica B. Hill plays Antipholus of Syracuse – the mistaken identities at the heart of the comedy are given yet another layer.
“You could put into this mistaken-identity play mistaken identity, and challenge ourselves: What do we assume about these characters already – and what if we are wrong?
“It allows us to discover this classic story in a new way that is both familiar and contemporary.”
The production’s cast, including Bain, Hill, Qasim Khan and Josue Laboucane, embraced Loughran’s interpretation but recognized a fluid approach to gender did pose certain challenges.
“Once I landed on the world of this play and the territory – and that it’s risky – I did want the compa- ny to be aware of it,” Loughran said. “... I have been speaking quite frankly with the actors and trying to support them if they are in a position where they’re portraying a gender that’s di erent than the one they identity with.”
As part of the early creative process, Loughran also invited advisers from the trans community to come to the Studio Theatre and speak with the cast
KEIRA LOUGHRAN
and crew. These guests shared their own stories while providing an education on terminology and
the history of the trans community.
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PAGE 36 THE BEACON HERALD | 2018 FESTIVAL EDITION
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tried to create space within the process,” Loughran said. “We’re trying to be conscious in that and find our comedy in that.
“It’s been awkward and uncomfortable sometimes, and funny as hell, and like the play, very forgiving and empathetic of our human natures.
“All the comedy is there – it’s inherent in the story- line – that’s all in the text, you can’t do this play and not have those things, but the ways it’s manifested is unexpected. You see it through di erent eyes.
“I’m finding it really engaging: There’s a simplicity in the complexity.”
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