The Comedy of Errors (Shakespeare's Globe)

"They say this town is full of cozenage/ As nimble jugglers that deceive the eye," says Antipholus of Syracuse marvelling at the place's reputation for double-dealing. And director Blanche McIntyre certainly gives us the full treatment.

Right from the outset amidst the solemn opening as Aegeon tells his sad story, the chorus mass behind, hissing disapproval; one can sense the repressed excitement, as if waiting for the madness to unfold. And from then on, the production crackles and fizzes with gags aplenty.

The two Dromios (Brodie Ross and James Wilkes) are highly physical, nimbly somersaulting away from yet another beating. There's a silent movie feel to some of the slapstick, even a touch of the self pity of Stan Laurel. And Ross makes the most of the speech about the kitchen maid, relishing every double-entendre.

McIntyre emphasises the physical nature of the comedy, bringing every conceivable prop into play – there's a great running gag involving a pair of voluminous pants, and at various stages fish, an octopus and a rubber chicken all play a part; Matthew Needham's Antipholus of Ephesus strokes a dead rabbit's ears whilst proclaimimg "I'm not mad".

But while there's a madcap intensity ensuring attention never flags, it's at the expense of some of the dialogue. The Globe is a tough environment but words or even whole sentences are inaudible – this is particularly true in James Laurenson's opening speech, delivered very hesitantly, but throughout the play speeches are garbled and syllables swallowed.

Fortunately, Comedy of Errors is a play that depends on visual gags rather than verbal ones. And the cast all enter into the spirit of the piece. Needham and Simon Harrison have a permanently bewildered expression as their world crashes around them – literally at one stage. Above the mayhem, however, Hattie Ladbury breathes life into the often stereotypical Adriana, ensuring that she's much more than the shrewish nag of many productions, but a woman contemplating the loss of her love and excited by the possibility of rekindling excitement. There should also be a mention for the evocative music from Olly Fox, imbuing Ephesus with a real sense of exoticism.

Despite the odd dodgy moment, McIntyre's production hangs together well and the audience laps it up – you can often judge a Globe production by how many people are there at the end, and scarcely anyone had stirred. It may be a bit gimmicky but this is a production that sparkles with wit and invention right from the outset – a touch of joy for the autumn ahead.

The Comedy of Errors continues until 12 October 2014