The titles of Shakespeare’s plays are not oblique, and The Comedy of Errors is no exception. A slapdash runaround of misunderstandings, arrogance, assumptions, and both good and bad intentions are the riot of errors that create a rollicking piece of comedy. 

 This is well understood in Kim Morgan’s interpretation and adaptation in this year’s offering of Dunedin Summer Shakespeare. 

 The setting is sublime. We relax in Chingford Park and are fortunate enough to have the sun come out, enclosing us in a natural theatre, contained, with wings of trees and the lights of the Gods. And these wings are here to much delight as actors back and forth with high energy, well utilised by Morgan.

 I don’t want to give too much away! But basically you have your fancy lot and your downtrod lot and if you don’t notice they are twins, that’s your look out. 

  As twins go, the cast are brilliant. Maegan Stedman-Ashford takes a while to warm up, but when she does, it is hard to take one’s eyes off her UNTIL Clare Lewis grabs her by the twins and shows a different approach to Antiphola. 

 Adranio (Thomas Makinson, being funny and well-utilised) has a tendency to shout – having said that, it was lovely that the whole play was audible.

 It is Dromia and Dromia on whom the production rests. Sofie Welvaert and Elizabeth Thomson carry – seemingly happily – a great deal of the play’s needs. They do it with aplomb. Just when we thought we’d had enough, we’d be laughing about the extra bit. 

We also have our Gigolo, Angelo Lukban, a crowd favourite and this reviewer has rated them before. Here, loads of funny, “sexy” dances. This reviewer wishes you had cared more about your lines….

 We have our quintessential bobby, who should have had more to do.

And we have some English accents out of nowhere, or rather, out of Shakespeare

 So it is a mixed bag. As it should be.

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