THE VOICE OF CHICAGO'S GAY, LESBIAN, BI, TRANS AND QUEER COMMUNITY SINCE 1985

But that same person might actually cry, "Good heavens!" again when he or she has been through the experience of Bomb-itty of Errors. Suddenly, the idea of a fusion of classic theater with urban street rhythms might not seem so absurd. If one thinks about it, hip-hop and "Willy" Shakespeare's means of expression ( including iambic pentameter verse ) aren't so far removed. Both share a delight in language, alliteration, and rhyme. Both utilize metaphor liberally to move their stories forward. And both share a playful delight in the English language. Good heavens ... methinks even the Bard himself might be pleased.

Originally conceived as a senior class project at NYU's Experimental Theatre Wing, The Bomb-itty of Errors was recognized quickly for the gem it is and its creators for their genius in keeping Shakespeare's farcical comedy of mistaken identity intact while infusing it with a very hip sensibility. The show moved to off-Broadway, where it ran to much critical acclaim, including raves in The New York Times, Entertainment Weekly, the Village Voice, The New Yorker and The Wall Street Journal. Its four youthful creators had a virtually unqualified smash on their hands.

The storyline is close to Shakespeare's original plot, tracing the chaotic family history of two sets of male twins who are put up for adoption by their financially strapped hip-hop parents. After the father is arrested for small time drug dealing, their mother falls apart, splits the boys between two foster homes, and disappears. Much confusion ensues when the boys meet up 20 years later in the town of Ephesus. The two sets of twins are identical, and they share the same names ( Antipholas and Dromio ) , so it's only natural that the narrative threads get hopelessly tangled. But, as in all good Shakespeare comedies, everything is mercifully resolved by play's end.

You'd have to have a hard heart indeed not to be won over by the energy and talent of this youthful cast of four, who gleefully play, in addition to the twins, wives, sisters, jewelers, nuns, ladies of the evening, policemen, messengers and more. The rhythms and pacing are frenetic, yet always clever and witty. J.A.Q., who mans the turntable ( and who created the music ) , acts as both cheerleader and tempo keeper.

Don't be put off by the hip-hop aesthetic of this wonderful piece. I am no big fan of the genre myself, but Bomb-itty of Errors is one of the most delightful theatrical experiences you can currently have in Chicago.