The Merry Wives of Windsor

Reviewed by Katie Buenneke
Theatricum Botanicum
Through October 2

Centuries before there was a Marvel Cinematic Universe, William Shakespeare introduced a Falstaff Theatrical Universe with The Merry Wives of Windsor, a comedy that follows the foibles of Falstaff, the much disparaged knight who appears in Henry IV parts 1 and 2 (L.A. audiences may have seen him last portrayed by Tom Hanks in an abridged version of both Henry IVs in the Shakespeare Center of Los Angeles staged in summer 2018).

The plot is a fairly standard Shakespearean marriage comedy: Falstaff (Jeff Wiesen) decides to woo two prominent ladies in Windsor, Mrs. Ford (Emily Bridges) and Mrs. Page (Willow Geer). Mrs. Ford and Mrs. Page are wise to Falstaff’s shenanigans, though, and team up to make a fool of him and preserve their marriages to their beloved husbands, Mr. Ford (Jonathan Blandino) and Mr. Page (Bill Haller). Meanwhile Mrs. Page and Mr. Page are both scheming and at odds regarding the future of their daughter, Anne Page (Alexandra Kunin). Anne wishes to marry the destitute Fenton (Charles Lin), while Mr. Page prefers she wed Slender (Christopher Glenn Gilstrap, at the performance I attended), and Mrs. Page favors the French Dr. Caius [Cavin (CR) Mohrhardt].

Under Ellen Geer’s direction, the setting is no longer the English town where Windsor Castle sits, but Windsor, Connecticut in the 1950s. Occasionally, the ensemble sing altered versions of songs from the 1940s and ‘50s. Unfortunately, most of these musical moments grind the plot to a halt, especially towards the end of the show, whose final moments are telegraphed well in advance.

The Theatricum space is beautiful — and huge. Director Geer makes ample use of its expanse, staging many scenes, especially those in Falstaff’s room, on its extreme periphery, causing many a craned neck. The blocking is also hampered by the venue’s vastness; characters often flow onto the stage from every angle and direction, pulling focus from the scene that’s currently occurring.

There’s also the matter of Falstaff as a dramatic device. Admittedly, it’s futile to criticize the writing of a 400-year-old text, but the play is built around everyone mocking and making an example of Falstaff. To be clear, Falstaff is, unequivocally, a lech, but most of the jokes aren’t about how he behaves. Instead, much of the humor derives from making fun of Falstaff for being fat — and especially for being fat and having sexual desires. Between this and Wiesen’s performance, which doesn’t feel particularly villainous despite the character’s wandering hands, the show feels uncomfortably mean to Falstaff.

Seeing Shakespeare in nature is a summer tradition for a reason, and this production of Merry Wiveswill scratch that itch. Willow Geer and Earnestine Phillips in particular give shining performances as the canny Mrs. Page and the Hostess of the Garter (essentially the town barkeep), respectively. But as strange as it is, I can’t help but wish that the play were a little kinder to Falstaff.

Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga; schedule varies through October 2. theatricum.com. Running time: two hours and 35 minutes, including an intermission. https://theatricum.com