Old Town Actor’s Studio is presenting repertory productions of Doctor Faustus, by Christopher Marlowe, and The Comedy of Errors, by William Shakespeare. While OTAS has consistently produced quality shows, it is even more impressive when these productions are done in repertory — a format rarely seen outside of professional theatre — since the commitment of time and energy is doubled for the cast and crew. In addition, the sets must be designed and built so that, with very little modification, the shows can be interchanged daily. These set restrictions, in turn, impose constraints on the directors’ blocking. All of these natural impediments were handled with aplomb by the directors, Daniel Sheldon (Faustus) and Michael Fornarotto (Comedy), and their respective (largely shared) casts and crews.

The shows themselves are a lovely choice, because we see the work of contemporary Elizabethan playwrights, each with one of their iconic plays: Marlowe with one of his most well-known tragedies, and Shakespeare with one of his best-loved comedies. In addition to demonstrating the natural contrast in genre, this also demonstrates the contrast in writing styles; Marlowe — whose popularity peaked earlier than Shakespeare’s, and whose life and career were shorter — was considered a trailblazer in his approach to “big ideas,” whereas Shakespeare became known for character interaction, intricate plotting, and more nuanced human behavior.

Doctor Faustus has a straightforward plot regarding the Doctor’s thirst for greater knowledge and power, and what he’s willing to do to acquire those things. Those familiar with the story know that there aren’t a lot of sidetracks from this path. However, this production has the benefit of having the inimitable actors Ted Bonman and Rebekah Cote in the respective roles of Faustus and his ever-attendant demon, Mephistopheles. With these two leading out under Daniel Sheldon’s direction, we can have no doubt of the quality we will see. There was a choice made in the subtextual relationship between doctor and demon that lent this production more nuance, anticipation, and melancholy than one would find just through reading the text, and this choice, embodied by Bonman and Cote, made it the best version of this production I could imagine.

Not relying solely on his anchor leads, Sheldon also has an able group of actors in supporting roles (all actors taking on multiple characters), from veterans to relative newcomers, including Tiffini Briscoe, Chandler Fehr, Justin Briscoe, Eric Suess, Dee Wilson, Dre Layson, and Kim Thompson, as well as my new favorite casting choice: sisters Susannah and Elle Mann portraying the Bad Angel and Good Angel, respectively. It is a great compliment to them all (and their director) that, despite the mix of seasoned actors, newcomers, and those in between, it would be hard for the audience to tell them apart. All of these supporting actors did lovely jobs jumping from character to character, and it was a pleasure watching them inhabit their many roles with deftness, enthusiasm, and drive.

The Comedy of Errors — one of Shakespeare’s most entertaining plays — is not known for nuance; however, its intricate comedic plotting is on full display. It is here that an ensemble cast can truly shine — and they do! Michael Fornarotto applied perfect casting to this production, beginning with bookending the show with Ted Bonman as Egeon, who gives his opening heartbreaking monologue with such real pathos that it checks our inclination to regard the whole thing as just “a madcap comedy” and reminds us that, hilarious or not — and it is — we’re about to see real acting by very skilled performers. This continues in the casting of Tiffini Briscoe and Justin Briscoe portraying the Antipholus twins (Ephesus and Syracuse, respectively), and Emily Lucio and Chandler Fehr playing their counterpart Dromio twin servants. The interactions of these four, in their various permutations, are worth the price of admission twice. Beautiful shifts of tone and expression, through indignation, inspiration, outrage, ingenuity, pleasure, and confusion, take us by the hand and lead us masterfully through the convoluted workings of the plot.

There are numerous nuggets throughout the production, including the silliness of Dr. Pinch (Eric Suess) and his silent mad assistant, “Pincher” (Ted Bonman), as well as the interactions involving the exasperated, put-upon Adrianna (Rebecca Cote), and her faithful sister, Luciana (Elizabeth PowersMccoy). The production is rounded out by solid performances from Dee Wilson, Susannah Mann, Kim Thompson, and Elle Mann, all of whom contribute to a thoroughly entertaining whole, as the best ensemble shows must!

Special acknowledgement must be given to the technical crew, including — but not limited to — Valah Steffen-Wittwer, the stage manager for both productions (without a solid stage manager, any show is at best a “fun idea”), and Raven Claflin, the technical director for both productions (an especially challenging job when merging the visions of two directors). Many more hands are listed and deserve recognition — so go give it to them all!

Doctor Faustus runs July 17 and 19. The Comedy of Errors runs July 12, 14 and 18.