Antipholus of Syracuse played by Simon Harrison
The Comedy of Errors (2014)
Written by: William Shakespeare
Simon returns to the Globe as Antipholus of Syracuse in the 2014 production of The Comedy of Errors.
Previous credits for Shakespeare’s Globe includes: Thomas Tallis, The Last Days of Troy (Royal Exchange, Manchester) and Henry VI Parts 1, 2 and 3.
Other theatre credits include: The Man Who Pays the Piper, The Conquering Hero (Orange Tree Theatre); Somersaults (Finborough Theatre); A Midsummer Night’s Dream (The Milton Rooms); Journey’s End (West End/UK tour); The Picture and Private Lives (Salisbury Playhouse); Reclining Nude with Black Stockings (Arcola Theatre); Epic, They Have Oak Trees in North Carolina (Theatre503); The Importance of Being Earnest, Relatively Speaking (Library Theatre); Days of Significance, Pericles, The Winter’s Tale (RSC); One Mile Away (Spread the Word); Merryweather Jones (DryWrite); The War on Terror (Bush Theatre); Look Back in Anger (Jermyn St Theatre); Days of Significance (RSC/Tricycle); Noises Off, Doctor Faustus (Liverpool Playhouse); A Lie of the Mind, Feeding Time (Battersea Arts Centre); A Devilish Exercise (Rose Theatre); Twelfth Night and Bus (West Yorkshire Playhouse).
Film and television credits include: Doctors and Everest.
“There are moments when I take more time and allow the audience to see Antipholus, to show he has doubts about himself and that he’s not the most confident man in the world.”
In his final interview Simon talks about letting the audience into his character more, his favourite moment in the play and playing the Globe’s space.
“Even in the most ridiculous situations, you have to have a clear idea of why – because it’s not ridiculous for the character, it’s their world. So you need to know why you’re doing everything you do on stage.”
Simon discusses tech week, balancing the audience’s reactions and some of the tricky language in the play.
“Antipholus of Syracuse jumps from being in these terrifying or intriguing situations to then talking to the audience who are his rock.”
In his second interview, Simon discusses working though the play’s text, the language of his character and the importance of the jig.
“This play seems to have everything in it – it starts off in a very melancholy way and then speeds up into this almost farce like comedy. And there’s some romance in it and then at the end you’re not quite sure where you’re left. It’s a real good mixture.”
In his first interview, Simon talks about the preparation he does for a role, his impressions of the play and following Matthew Needham around the rehearsal room.