The stage world created by John Bell’s 2002 production of Comedy of Errors captured both the hybridity of the play and the mix of contradictions embodied in the historical and Biblical Ephesus, where the play is set. This essay proposes a reading grounded in cultural geography which allows for a foregrounding of the production’s deployment of dreams and magic to generate a theatrical Ephesus which could speak to both Australian and English experiences of modern city life, via colour, movement and rhythm
