“I hope, upon familiarity will grow more contempt”
Hoping that the above quote doesn’t ring true, this revival of Christopher Luscombe’s 2008 The Merry Wives of Windsor slips back into Shakespeare’s Globe ahead of a US and UK tour taking in Santa Monica, New York, Milton Keynes, Norwich, Richmond and Bath through to December.
The only of Shakespeare’s plays to take place in his contemporary England, it takes some of the characters familiar from the Henry IV plays, most notably Falstaff and creates a pleasing romp as he chases after the wives of two gentlemen from Windsor but doesn’t reckon on just how cunning the women are. There’s also a young couple straining to be together in the face of parental disapproval, some comedic foreigners, some funny business with a laundry basket and a whole load of farcical fun. It plays here, as nicely explained in the programme, as a bit of a forerunner of the modern tv sitcom and it really does work.
A nice thing about this play is its balanced treatment of women, with 3 strong, funny female characters all of which are played with aplomb. Sue Wallace’s Mistress Quickly is nicely knowing in her manipulation of Falstaff and compassionate in rearranging the love affairs of the youngsters. And Sarah Woodward and Serena Evans as Mistresses Ford and Page respectively are just an absolute delight as the mischievous cohorts with a visibly strong friendship. Andrew Havill’s Basil Fawlty inspired mugging as Ford fits in perfectly with the tone of the piece and as Falstaff, Christopher Benjamin wins our sympathies as well as making us laugh.
The only slight disappointments for me was the sagging of the pace in the first half and Ceri-Lyn Cissone and Gerard McCarthy as the rather bland lovers, typified by their overlong duet. William Belchamber’s fey Slender and Philip Bird’s linguistically-challenged Caius were much funnier and more interesting and there was no hint at all of the former drinking buddy of Prince Hal in McCarthy’s Fenton, meaning he came across as just dull.
As a little aside, I do find it curious programming that this sits alongside the two Henry IV plays this year. With the crossover in characters but not the casting and the fact that this doesn’t really square with the timelines of the history plays, it just sits a little odd in terms of the season as a whole. And with Allam’s Falstaff so fresh in my mind, I couldn’t help but compare, however this is but a minor quibble.
It is clear why this production has been revived though: it is superbly acted throughout the ensemble, it is huge amounts of fun and once it gets started it just romps through its proceedings with a vibrancy and energy that should win over audiences no matter where it plays.
Have to disagree a bit, we thought Ceri-Lyn was good. Though Gerard didn't look comfortable and was a little too 'stagey' in his speaking, should relax a little more into the role throughout the run.
Looking back on it, I just don't think that thread was half as interesting as the main one and so suffered by comparison. Personally, I would have been tempted to play up the role of the lovers in a more comic way to balance with the rest of the production.
I agree I think the lovers were bland. The production on the whole was 5* apart from these two. I felt Ceri Lyn was particularly terrible, these parts aren't meant to be comic as there is enough of that in the rest of the play but they needed something of interest. The song was nice enough but why? Their cod I'm an 'actor' acting stood out from the rest perhaps because the rest of the company are so phenomenal. The was a small gripe to focus on though. The show was in all fantastic and one of my favourite things at the Globe to date.