maryse fernandes
iPhoto caption: Mark Kreder, Laura Del Papa, Erin Eldershaw, and Drew Moore in 'The Comedy of Errors.' Photo by Andrew Alexander Photography.
The final boss: Embedded with the Fools’ Comedy of Errors (part two)
In the first piece of this series, I wrote about joining a Company of Fools as an embedded critic for their Super Mario-themed Comedy of Errors. A few weeks later, I got to see that world in action.
iPhoto caption: The company of 'The Comedy of Errors.' Photo by JVL Photography.
Let’s-a go: Embedded with the Fools’ Comedy of Errors
While I was preparing for the summer heat by shopping for lighter clothes, Kate Smith, artistic director of a Company of Fools, was getting ready for their next show. She called me while I was in the Rideau Centre and pitched an idea: “Would you have any interest in being an embedded critic?”
iPhoto caption: The Anger in Ernest and Ernestine production still by Curtis Perry.
REVIEW: The Anger in Ernest and Ernestine simmers just below the surface
While the show certainly induces laughter, some of its strong design elements paint the actors into a corner, at times making the comedy feel a touch manufactured.
REVIEW: The Supine Cobbler is a hilarious, deeply intimate trip to the abortion clinic at GCTC
The play is strange, which is a loving compliment to Connell’s playwriting, but also entirely familiar; the space used feels endless, a testament to how malleable the play is and the strength of Pearlman’s direction.