It’s witty, funny, bold and at times irreverent. It’s Shakespeare as you’ve never seen or heard him before as the LAB Space closes out the year with Bomb-itty of Errors, a hip-hop version of the Bard’s The Comedy of Errors. It’s a show that you won’t want to miss.
Two sets of identical twins, Antipholus and Dromio, are separated at birth and raised in the different cities of Syracuse and Ephesus. The complications begin when the Syracuse Antipholus and Dromio, as joyful vagabonds, come to sedate Ephesus where they are both mistaken for their similarly named counterparts and quickly become enmeshed in their affairs.
Director Brook Hall has put together a strong cast of Steve Coetzee and Airy Liu (劉怡伶), the Syracuse Antipholus and Dromio, and Meg Anderson and Charlie Storrar, the Ephesus Antipholus and Dromio, to carry this delightful farce.
Photo courtesy of Antonella Gismundi
From here on in, one needs a touch of Samuel Taylor Coleridge’s “willing suspension of disbelief.”
In Shakespeare’s day, men played the women’s roles and actors spoke in iambic pentameter. Rap is often iambic tetrameter and the real delight of this play is the versatility shown by the four leads as they take on multiple roles and rap in style.
Everyone will have his/her favorite scenes. For this writer, it is Hasidic Hendelberg (Coetzee) getting lost in his own rap.
Another is when Storrar as Luciana is alarmingly “courted” by Syracuse Antipholus (Coetzee) whom “she” thinks is her sister’s husband.
Kudos go to costume designer Jenna Robinette, set designer Joseph Lark-Riley and show sponsorship from the Department of Culture, Taipei City Government. Not only are multiple costumes needed but ones that can come off and on in a split second as characters exit one door and return through another.
Lark-Riley’s graffiti-laced set provides the multiple entrances and exits as well as a visible balcony for “beat man,” DJ Cross Cutz (Cedric Bouadzi), who regularly interacts with the cast below.
What: Bomb-itty of Errors
Where: The LAB Space (實演場), 3F, 9, Beitou Rd Sec 1, Taipei City (台北市北投路一段9號3樓), a 5-minute walk from the Qilian MRT station
When: Tomorrrow, Saturday and Sunday and Dec. 2 to Dec. 4. All performances are at 8 pm
Tickets: NT$700, available through www.tiny.cc/get-bombitty
One often hears that the people of Taiwan are 98 percent Han, a complicated cultural term that is often used to imply a certain genetic relationship as well. Yet among the pre-1949 population of Taiwan, roughly 45 percent are descended from immigrants from Quanzhou (泉州) in China. Who might these people be? In medieval times Quanzhou was one of the world’s greatest ports, a melting pot of peoples from India and northeast, southeast and central Asia, along with Han and other peoples we now identify as “Chinese.” Merchants from Quanzhou competed in the southeast Asian textile trade, shipping cottons from India
COVID-19 has been racking the world, and there’s hardly a person alive who doesn’t want to see 2020 in the rear view mirror. Taiwan of course has proven to be an island of safety during this epidemic. In appreciation of that as well as giving 2020 an early send off, Brandon Thompson, Adoga, and Taipei Next have prepared a fitting music fest, “Forget 2020” or in the vernacular, “F#ck 2020.” It’s a late-night-early-morning festival where you’ll hear some 30 vocalists and musicians performing many of your favorite songs from the past two decades. Expect hits from the rise of Bruno, Slim,
NOV. 23 to NOV. 29 Japanese researchers initially thought that the Saisiyat Aborigines’ Pasta’ay festival was a New Year celebration. A drawing of a Saisiyat man dancing with a kirakil, a ceremonial headdress used during the Pasta’ay, appeared in a 1906 issue of Record of Taiwan’s Customs, where the author noted that it “represented reverence to their ancestral spirits.” Ten years would pass before the Temporary Taiwan Old Customs Investigation Committee published the earliest description of the ceremony. “The Pasta’ay is held to worship the Ta’ay people, who were a diminutive race living in the caves of the Maiparai Mountains,” the
A row over a Thai woman who held up a placard alleging sexual abuse in schools has put a spotlight on harassment in the education system even as she draws threats of legal action for misrepresentation and attacks for soiling Thailand’s image. The issue is the latest on which discussion has become more vocal as an anti-government protest movement seeking reform of the monarchy also emboldens people in a society where conservatism has often constrained criticism of the powerful. “I hope my case will raise awareness for people in society, for students in schools, for adults who send children to schools, for