This article offers a survey of twentieth-century performances of The Comedy of Errors , a play notable only by its absence from the four-hundred year performance history of Shakespeare's works. Having long been supplanted, adapted, and rewritten in the three centuries after it was first performed, the play, the article suggests, was restored to something of its original identity by the four productions under examination: the 1962, 1963, 1964, and 1972 Clifford Williams productions for the RSC, the 1976 Trevor Nunn production at the Royal Shakespeare Theatre, the 1996 Tim Supple RSC production at The Other Place, and the 2004 Cecil MacKinnon Shakespeare & Company production in Lenox, Massachusetts. The study is particularly concerned with how each of the productions retain a faithfulness, not to the letter of Shakespeare's play, but to its liquidity, by employing precisely those tactics that earlier productions had used to supplant the play: free experimentation with additional music, tone, setting, and textual cuts. While measurably different from one another in directorial vision and performance style, the four productions, the article seeks to demonstrate, while measurably different from one another in vision and style, nonetheless share two seemingly antithetical characteristics: an attentiveness to Shakespeare's language and yet a willingness to adapt that language freely, taking it as a cue for wandering adaptations. In so doing, the article is ultimately concerned with illustrating how the productions, through adaptation, recovered a range of voices in The Comedy of Errors that centuries of production choices and critical judgments had muted.