The premise of William Shakespeare’s The Comedy of Errors can be described in a single far-fetched sentence: Two sets of identically dressed twins, identically named and even identically freckled, somehow wander around the same town without noticing each other. Mistaken identities such as these are common in the major forebears of Shakespeare’s comedy—in Roman New Comedy (especially the works of Plautus) and the Italian commedia dell arte of the sixteenth century—but a key difference is that deception in classical comedy often relied on trickster figures, while the two sets of twins in Errors are accidental deceivers, tricky only because they are a physical paradox. The twins themselves attribute the confusion surrounding them to physical locations: the magical Mediterranean and the ancient and occult town of Ephesus. In this paper, I make a similar argument, attributing the confusion of Errors not to trickster figures but to “trickster geographies.” The trickery that drives the play’s plotline emanates from the places the twins inhabit, and Shakespeare characterizes these settings—in particular, the Mediterranean Sea and the city of Ephesus—as magical, liminal, and beguiling.