By Jordan Allen-Dutton, Jason Catalano, Gregory J. Qaiyum, and Erik Weiner. A Temporary Thing production, presented by Twenty Something Theatre. At Studio 16 on Thursday, April 5. Continues until April 22

A rap adaptation of The Comedy of Errors? I thought it would stink the place out. Man, was I wrong. Since seeing The Bomb-itty of Errors, I’ve been recommending it to everybody—friends, neighbours, dog walkers, the letter carrier, and now you.

William Shakespeare’s original features two sets of twins—a pair of masters both conveniently named Antipholus, and a pair of servants, both named Dromio—who are separated as infants. In Bomb-itty, they’re quadruplets—two pairs of twins—born to a drug dealer and his wife, then abandoned. When the duo that was raised in Ephesus shows up in Syracuse, where the other set lives, this comedy of mistaken identities enters a crazy-house hall of mirrors.

Rhymes ricochet all over the place, and in some of the best the Vancouver cast manages to work both Henrik Sedin and the PNE into the lyrics. The sexual references are endless and so exuberant they’ll charm your pants off and swing them over your head.

Four actors perform all of the characters, and this cast rocks. Jameson Parker plays both Antipholus of Ephesus and his wife, Adriana. Parker is a confident, charismatic performer and he does a screamingly funny job with Adriana’s soulful martyrdom. Niko Koupantsis, a former Saskatchewan sociologist, is making his Vancouver stage debut in this show. Among other characters, Koupantsis plays Adriana’s sister, Luciana, the bimbo, and he’s inspired. He performs the drag role with such innocent joy and sweet stupidity—he’s so responsive, so in it, and having such a good time—that his Luciana is one of the best comic characterizations I’ve ever seen.

Brian Cochrane (Antipholus of Syracuse and others) took a while to warm up on opening night, but hit his stride as the Jewish jeweller MC Hendelberg. David A. Kaye (main character: Dromio of Syracuse) is an acrobatic dancer, funny guy, and sexy ’ho.

Vanessa Imeson’s costumes—the neon colours, the insanely sculptured wigs—deserve a curtain call of their own.

Director Catriona Leger might want to cut a supposedly bravura set of costume changes—it’s far too slow to impress—but overall, she deserves enormous credit for pulling together this stylin’, stylin’ evening.