Review: THE MERRY WIVES OF WINDSOR at Southwest Shakespeare Company

THE MERRY WIVES OF WINDSOR highlights the middle class, instead of the nobility commonly focused on in Shakespeare’s plays. Can this middle-class-oriented play reflect on a more modern time? That is exactly what director Keath Hall has done in Southwest Shakespeare Company’s interpretation of the classic show. Set in the 90s or early 2000s in a trailer park in Arizona, the story follows a biker version of John Falstaff, instead of a knight. Similarly, the other characters become residents of Windsor, the trailer park, rather than the English town.

Like many Shakespeare plays, the comedy follows a large cast of characters. In an attempt to seduce Mistress Ford (Ryan L. Jenkins) and Mistress Page (Tahni DeLong), Falstaff (Alex Urbom) sends them each a letter. Disgusted, the two women decide to play along to enact revenge. Meanwhile, Falstaff’s former lackeys, Nym (Eric Mitchell) and Pistol (Seth Scott), inform Ford and Page that Falstaff seeks the company of their wives. This sends Ford into a paranoid fit of jealousy, determined to track down Falstaff and catch him with his wife.

Meanwhile, the secondary plot centers on Page’s daughter, Anne (Serena Poggi). Three men are in love with Anne: Fenton (Seth Scott), who holds her affection; Dr. Caius (Eric Mitchell), a doctor whom her mom wants for her; and Slender (Issac Hammon), Shallow’s (Lamar Cravens) awkward, bumbling cousin, who is Page’s pick for his daughter. With several romance-centered plots in place, chaos ensues, leaving Quickly (Bonnie Beus Romney), who works for Caius, as a messenger for most of the characters in the play.

Although there is a level of dissonance between the Shakespearean language and the more modern set, costumes, and props, it does not take long for the audience to settle into that difference. In fact, it often contributes to fun visual gags. The blocking and slapstick humor are highlights of the performance. The modern interpretations of the duels were the best part of this; they are very over the top in that classic Shakespearean way, just without the foils or daggers. In addition to the modernization through design, the use of music in this performance highlights some classic ‘90s and early 2000s anthems. These songs are primarily used in transitions between scenes and do not interrupt the flow of the play. For those unfamiliar with THE MERRY WIVES OF WINDSOR or those who are not used to the language used in Shakespearean plays, the modern setting and slapstick help move the plot along and make it understandable for those who do not pick up on every line.

To make the play better suited to its Arizona setting, some characters are changed. While Caius is French in the original script, he has been changed to French Canadian. Sir Hugh Evans, previously a Welshman, is changed to Padre Hugh (Daniel Jurado), a Mexican interpretation of the character. These choices fit in well with the set change and allow for a much more realistic depiction of an Arizonian-Windsor. Jurado’s performance as Padre Hugh was very energetic. His role stood out because of how unique his character felt. Although the play does not touch on the cultural differences in an extremely deep way, as they are not the main plot focus, his character gives the production an extra layer of depth, and he provides very fun slapstick moments. Mitchell’s performance as Caius is very cartoony in a way that appropriately matches the absurdity of the play. The little hints that are given to show he is French Canadian, like his maple leaf shirt, are effective and ridiculous in a fun way.

Between Mistress Ford and Mistress Page’s antics, Quickly having a hand in all the plots of the show, and several men vying for Anne’s hand in marriage, the women command the plot. Jenkins and DeLong have a fun dynamic. The friendship between the two women and their appreciation for the drama is infectious, leaving the audience rooting for the two of them. Their chemistry is timeless, showing the allyship pairs of women have held together throughout history. Romney’s performance as Quickly is mischievous and fun, but has an underlying layer of power to it. She has a hand in every character’s pocket; she is a vital part of pushing the plot forward with her involvement as a messenger. Instead of the innkeeper role she takes in the script, she works at the bar Falstaff frequents. The bartender job is a perfect modern interpretation of the Quickly, hearing all the drama from the people of Windsor, but avoiding taking sides.

On the men’s side, there were many fun performances. Urbom’s performance as Falstaff, the cocky yet cowardly villain of the show, was entertaining. Throughout the show, as he continuously gets tricked and the flaws in his scheming are revealed, his character becomes increasingly compelling as he settles into the character and allows his performance to get bigger and bigger. Lorello’s interpretation of Ford was a great contrast to Falstaff. Much like Falstaff, he is outwitted by Mistress Ford and Mistress Page, but his motivations come from insecurity about his wife’s faithfulness rather than an inflated ego like Falstaff. His desperation to catch Falstaff with his wife, coupled with his anger at the man, made for a take on the character that felt very fresh.

Audience members who enjoy Shakespeare but are looking for a new take on his classic stories, or those who have struggled with Shakespeare in the past, will enjoy THE MERRY WIVES OF WINDSOR. This trailer-park take on the play is full of fun performances and laugh-worthy moments.

THE MERRY WIVES OF WINDSOR plays at Mesa Arts Center through February 22nd.

Southwest Shakespeare Company-- https://www.swshakespeare.org – (480)-644-6500

Venue: Mesa Arts Center -- 1 East Main Street, Mesa, AZ 85201

Photo Credit to Southwest Shakespeare Company