Shakespeare and the Merry Wives Delight Again

Archana Asthana

The outrageous Sir John Falstaff trying to better his fortunes by wooing two wealthy damsels simultaneously; young lovers seeking to unite; and the usual confusion of mixed identities is at the heart of the play, “Sir John Falstaff and the Merry Wives of Windsor”, the only one by the Bard to be based on middle class, non-aristocratic nobility. Presented by SPARC Theater (Shakespeare and Performing Arts Regional Company), under the California skies in the scenic Darcie Kent Vineyards in Livermore in July, and indoor at the Village Theater in Danville in August, this rollicking comedy is full of riotous humor and follies.

Executive Artistic Director and Founder of the Company, Lisa Tromovitch, also the director of this play, has reimagined this timeless comedy with a local twist setting it in late 1800s when Livermore was settling in as a community. Other modifications include streamlining the plot to just two, to avoid unnecessary confusion in the story flow and to reduce its duration; using just eight characters playing multiple roles to economize on production costs.

Singing by both men and women characters provides not only a pleasant interlude, but also allows costume changes for actors.  The middle-class theme dominant in the play is visible through the wives’ pranks on their suitor and not succumbing to the seduction; the bonding between townsfolk, especially the wives in their everyday interactions; and the way social standing and wealth creates a chasm.

Suitability of casting is paramount when running such a tight ship, and all characters came through handsomely, from Malcolm Rodgers who also captivated with his vocals as Falstaff; Lucy Swinson, equally adept at portraying the Anne Page the gentle maiden, and the rambunctious companions, Robin and Nim. Mary Ann Rodgers playing the awkward suitor Fenton, switches disarmingly to the beguiling Mistress Ford, who, accompanied with Carolina Morones plots with her as Mistress Page, and set forth cunning traps for their erstwhile suitor. Nic Moore delights as the very French Mr. Caius, one of the suitors for Anne, and Fenton, who actually is the besotted, as well as the supporting role of the companion Pistol. The other two gentlemen, Norman Gee as Mr. Ford and Mark Vashro as Mr. Page, the unsuspecting, but jealous husbands anchor the plot with dexterity.

Gwen Loeb steals the show as the central figure Mistress Quickly who serves as a messenger and facilitator between various characters, cementing the misunderstandings through deliberate miscommunications and malapropisms, while also maintaining the dignity of her other character Mr. Shallow, the justice.

The outcome of all the adaptations and superb acting resulted in a well put together, seamless production which enhanced a terse plot flow and character development that proceeded to delight the audience. Despite the first half seeming to stretch a bit, the second half sealed the deal with a typically raucous ending with young lovers united and Falstaff outmaneuvered by the brilliant wives. The retitling of the play acknowledges both the sheer audacity of Falstaff, and the integrity of the women who outsmart him at every turn.

Photos-SPARC Theater