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Theater Info Below More of Otto Luck's work on NY Rock |
Act one opens with four homeboys cranking out raps against live hip-hop music, provided by disk jockey J.A.Q. (who penned the score), on a stage- To give the plot away or not to, that is the question. Well, I guess since the plot is about four hundred years old, a quick synopsis won't hurt. Suffice it to say, Bomb-itty revolves around a series of mishaps that occur when a quartet of birth twins are separated early in life and then serendipitously joined together years later. One pair of siblings, Antipholus and Dromio, is unaware that their identical counterparts (who also happen to be named Antipholus and Dromio) are residing in the city of their travels (Ephesus) and pandemonium ensues.
Written and performed by Jordan Allen-Dutton, Jason Catalano, Gregory Qaiyum and Erik Weiner, Bomb-itty is a merciless assault of sidesplitting comedy that had the audience in stitches from start to end. (I, myself, haven't laughed so hard since I heard that Donald Trump is running for president.) The entire dialog is sung rap style, with a combination of wit and exuberance that immediately brings to mind masters of the respective arts of rap and comedy, such as the Beastie Boys and Robin Williams. I found myself entertaining superlatives, which I usually avoid with an eleven-foot pole, such as brilliant, fresh, hilarious and damn- What can I say, I'm just a humble rock critic. I can barely do this play justice. From a delivery boy who can't rap for his life, to a cop that raps with an Irish accent, to a RuPaul-esque hooker that lusts after a necklace consisting of a golden steering wheel (complete with The Club attachment), Bomb-itty has no shortage of zany characters and amusing raps to keep you thoroughly entertained through its duration. Here's a sample: "What did you feed me, you stupid twit. This tastes like elephant shit." "Not elephant shit, elephant urine," Rastafarian medicine man Doctor P quickly corrects. A small aside on The Bomb-itty of Errors: Although, on one hand, it may quite possibly be one of the most original outings to take place in the entertainment industry in years, it is nonetheless an adaptation of a parody that is four centuries old. It's interesting to note that the same vehicle that captured the hearts and minds of Shakespeare's original audience still entertains us today. The World Wide Web may allow us to buy books and CDs at the click of a button but perhaps we really haven't changed so much in the past 400 years.
The Bomb-itty of Errors January 2000 
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