Forced from their native homeland of "Shakespeare", Anthony and Dominique seek asylum in the UK. Unbeknownst to them, their identical twins (who they believed to be dead) are also residing in the UK. To confuse matters further, both sets of twins share the same name.
Catch the professional debut of Intermission Youth's cohort, emerging from a 10 month program dedicated to empowering young artists.
We caught up with director Stephanie Badaru and cast members Marley (who plays Anthony) and Kunzi (who plays Dominique).
As a graduate of Intermission Youth Theatre, what does it mean to you to direct a remixed Shakespeare production?
Steph: Intermission changed my life, and continues to do that for every young person who participates in their programmes. I’ve always wanted to give back ever since I completed the 10 month programme, not necessarily to be a part of making history, but because if I can help make a difference in one young persons life the way that others made a difference in mine, I’ve done something to give back. When I came back as a facilitator 2 years ago I loved it, and coming back as a director now has been even more incredible because it’s given me the chance to see the organisation from different perspectives, and really appreciate how much it has grown. How have you approached the challenge of portraying characters that deal with themes of identity and displacement?
Steph: I’m generally a deeply unserious person in life - which might’ve been why Darren thought I’d be good for this play. I value discussing serious topics, and going in depth on different political, social and other issues, but there’s always humour in everything I do, I love humour and I love laughing, so I think I found it quite natural to balance both as that’s something I feel I do in everyday life. I think keeping that humour throughout rehearsals and throughout the play itself has been really valuable in terms of handling these themes, especially when they are so relevant to our casts.
Steph: I’m generally a deeply unserious person in life - which might’ve been why Darren thought I’d be good for this play. I value discussing serious topics, and going in depth on different political, social and other issues, but there’s always humour in everything I do, I love humour and I love laughing, so I think I found it quite natural to balance both as that’s something I feel I do in everyday life. I think keeping that humour throughout rehearsals and throughout the play itself has been really valuable in terms of handling these themes, especially when they are so relevant to our casts.
Marley, as Anthony, you navigate the complexities of mistaken identity. How do you find humour in the chaos that ensues, and how does it reflect the broader themes of the play?
Marley: As Anthony S I find the cluelessness of the character really funny and I really enjoy how he finds himself in complex situations that he doesn’t understand. I also love how there’s a naivety to him and he seems to take everything at face value. Like for example when Angelo gives him the ring meant for the other Anthony (Anthony L), he just assumes that it is a gift and in the next scene he’s talking about how everyone is nice to him and giving him things.
Marley: As Anthony S I find the cluelessness of the character really funny and I really enjoy how he finds himself in complex situations that he doesn’t understand. I also love how there’s a naivety to him and he seems to take everything at face value. Like for example when Angelo gives him the ring meant for the other Anthony (Anthony L), he just assumes that it is a gift and in the next scene he’s talking about how everyone is nice to him and giving him things.
Can you discuss the dynamic between the twin pairs in the play? How do their experiences shape their interactions and challenge their identities?
Marley: Although I really enjoy the contrast between the characters I do feel like the dynamic between the twin pairs is actually quite similar, both Anthonys treat their Doms pretty badly, like Anthony S beating up and lecturing Dom S, and Anthony L not taking Dom L seriously and always treating her like she’s stupid - both Anthonys also order their Doms around a lot and make them do things for them.
I think the contrast however is most noticeable when the twins cross over and Anthony meets the wrong Dom, for example Dom L immediately notices how Anthony S is talking differently and later says that their mum used to speak Shakespeare to them, but they dropped it and started talking street instead. This reveals a lot about the London twins identities and how they grew up.
Marley: Although I really enjoy the contrast between the characters I do feel like the dynamic between the twin pairs is actually quite similar, both Anthonys treat their Doms pretty badly, like Anthony S beating up and lecturing Dom S, and Anthony L not taking Dom L seriously and always treating her like she’s stupid - both Anthonys also order their Doms around a lot and make them do things for them.
I think the contrast however is most noticeable when the twins cross over and Anthony meets the wrong Dom, for example Dom L immediately notices how Anthony S is talking differently and later says that their mum used to speak Shakespeare to them, but they dropped it and started talking street instead. This reveals a lot about the London twins identities and how they grew up.
Kunzi: She’s a serious winger — reliable, loyal, and the one Anthony trusts to get things done. Like her, I’m dependable and always active. We also share an immigrant story. I was born and raised in Uganda but moved here with a British passport, which oddly made me a foreigner in both places. They can’t keep me away though — dual citizenship soon!
Their relationship feels different only because of where and when they grew up, but deep down it’s the same — classic sibling banter and hierarchy. The London pair’s friendship came first, while the Syracuse pair learned service first, then friendship.
The play addresses significant contemporary issues such as immigration and assimilation. Can you elaborate on your vision for intertwining these themes with Shakespeare's original work?
Steph: I think mainly, the play and the way we’ve presented it highlights how sad it is that the current climate is as polarised as it is, and how sad it is that the themes that were first written hundreds of years ago, and first performed by Intermission in 2017, are still just as relevant today. It highlights how much we, as a society, need to grow. That’s part of the reason it’s so impactful to work specifically on Shakespeare - the fact that the themes of his plays maintain relevance in the way they do is not only a testament to his writing skill, but also to how little we have improved. How do you believe Comedy of Errors Remixed contributes to the ongoing conversations around identity and belonging in today's society?
Steph: Seeing young people, especially those from immigrant backgrounds, is especially hard hitting in those ongoing conversations, because it personalises those who are being impacted negatively by the social climate and policies. In our first scene, you actually get to hear people’s stories - a lot of the time the headlines we see are quite dehumanising, and villify immigrants as a group rather than acknowledging the actual individual people. Through the stories you hear, we allow an opportunity to personalise, to humanise and to actually give space for the extremely difficult circumstances that immigrants have fled. 
For all of you, what has been the most surprising element of performing Shakespearean dialogue while also engaging with Street vernacular?
Marley: For me the most enjoyable part of mixing in street slang with Shakespeare is trying to do it in a way that sounds like the character is trying to speak street for the first time, when for me I am so used to it that it can be difficult to deliver some lines naturally. On the other hand I really enjoy the Shakespeare however it can be hard at times to get across the intentions in what my character is saying, even if I do understand it.
Marley: For me the most enjoyable part of mixing in street slang with Shakespeare is trying to do it in a way that sounds like the character is trying to speak street for the first time, when for me I am so used to it that it can be difficult to deliver some lines naturally. On the other hand I really enjoy the Shakespeare however it can be hard at times to get across the intentions in what my character is saying, even if I do understand it.
Kunzi: It’s wild realizing modern English is the “vernacular” in this play. In Ugandan primary schools speaking your mother tongue is considered speaking vernacular because they are trying to train you to speak English . We are all just taking what we can from what came before in an aim to understand eachother . We can also make the effort to learn from what is unfamiliar to achieve the same goal .Like my charcater does when she uses the word “Fam” which she isnt used to but understands the familiarity it expresses .
How do you mentally and physically prepare for a performance?
Marley: Sometimes listening to music can really help me get into character or feel the emotions of a scene, physically I think whenever we do group games or warm ups it usually helps me feel the energy and stay motivated.
Marley: Sometimes listening to music can really help me get into character or feel the emotions of a scene, physically I think whenever we do group games or warm ups it usually helps me feel the energy and stay motivated.
Kunzi: I read the script before every rehearsal, warm up my voice and body, pray, and stay grounded. I rehearse inside and outside the room, take feedback seriously, and always believe — in myself, the story, and my cast.
If you could ask Shakespeare a question about the play, what would you ask him?
Marley: I’m not sure 😅 I would probably ask him for his perspective on the arc of my character, Antipholus of Syracuse (Anthony S) and how he feels throughout the events of the play. The character’s interpretation is still my own but I would be curious to hear his thoughts. In my portrayal, my Anthony is looking for a place to call home and a place that makes him feel whole, where he and his sister can feel safe and accepted. I wonder if Shakespeare’s interpretation is any different?
Marley: I’m not sure 😅 I would probably ask him for his perspective on the arc of my character, Antipholus of Syracuse (Anthony S) and how he feels throughout the events of the play. The character’s interpretation is still my own but I would be curious to hear his thoughts. In my portrayal, my Anthony is looking for a place to call home and a place that makes him feel whole, where he and his sister can feel safe and accepted. I wonder if Shakespeare’s interpretation is any different?
Are there specific moments in the play that you think will resonate deeply?
Steph: I think the first part of the play, which sees a group of immigrants and refugees telling their stories of how they ended up here, is really heavy, and I hope that moment resonates. Like I said before, it’s an opportunity to humanise, to personalise, and hopefully empathise, so that the conversation going forward can be less broad and blaming, and more empathetic.
Steph: I think the first part of the play, which sees a group of immigrants and refugees telling their stories of how they ended up here, is really heavy, and I hope that moment resonates. Like I said before, it’s an opportunity to humanise, to personalise, and hopefully empathise, so that the conversation going forward can be less broad and blaming, and more empathetic.
What’s a piece of theatre that had a big impact on you?
Marley: For Black Boys and Hamilton are two plays that really inspired me the most. I love For Black Boys for how it shows perspective on growing up as a young black man and the experiences we go through, and I love Hamilton for its diverse cast and showing people of colour speaking and performing in important events in history.
Comedy of Errors Remixed runs at The Courtyard Theatre in London until Saturday 20th December 2025. Tickets are available from https://thecourtyardtheatre.seetickets.com/tour/comedy-of-errors-remixed/
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