| Not so merry “Merry
Wives”
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| Zuzanna Szadkowski, left, Jason O'Connell and
Nicole Lewis |
Tradition has it that Queen Elizabeth, enamored of Falstaff
from Shakespeare’s Henry IV plays, asked the playwright for
a play depicting the character in love (a likely apocryphal ‘alternate
fact’). Shakespeare did Her Majesty one better, showing Falstaff
wooing not one, but two married women of means who conspire to turn
the tables on their would-be seducer. Supposedly written in a fortnight
on Elizabeth’s command, “The Merry Wives of Windsor”
is Shakespeare’s only comedy set entirely in England and his
play with the highest prose-to-verse ratio, at nearly ninety percent
(no versifying Royals in this one). As written, it is a farcical delight.
Tinkering with Shakespeare is its own art form, and the version of
“Merry Wives” at Two River Theater tests the limits of
that art. Adapted and directed by Eric Tucker, artistic director of
the highly regarded (and aptly named) Bedlam Theatre, the play is
compressed into 100 minutes and acted by an ensemble of three performers
who play all 20-some roles.
Those roles include Sir John Falstaff, who sends identical wooing
letters to Mistresses Ford and Page; the Ford and Page husbands, one
who also assumes a false identity; the Page daughter and her suitors;
Falstaff’s cronies; various townspeople and servants. All are
played by Nicole Lewis, Jason O’Connell and Zuzanna Szadkowski
in rapid succession – or seemingly at the same time. (Ms. Lewis
and Ms. Szadkowski each play a variety of female and male characters,
while Mr. O’Connell, only men. Something to ponder.)
Tucker’s stated intention is to “explore the darker undercurrent”
of the play and still provide “lots of laughs.” No easy
task that only partially succeeds. The three actors work well together,
and the basic plot survives the frenzied pace, but the self-described
“dark and sexy take” on Shakespeare’s light comedy
and its larger-than-life protagonist do not exactly inspire knee-slapping
audience reaction. The first measurable laugh at last Sunday’s
matinee came about 40 minutes into the 110-minute running time –
a self-conscious laugh, prompted by an actor grinding suggestively
over the head of his scene-mate.
The necessarily fast-paced, character-change performances demand sharp
timing and a disciplined approach to the script and to the staging,
however loosely structured it may appear. Two River’s acting
trio is generally on target, despite some anachronistic ad-libbing,
loosely-structured gyrations and gratuitous toilet humor. Designer
Lee Savage’s seedy motel-room set serves the play well, mounted
as it is to allow for frequent entrances, exits and cross-overs. (There’s
also a set adjustment during a blackout that deserves an enthusiastic
shout-out to the stage crew!)
While this re-imagining of “The Merry Wives of Windsor”
downplays its intrinsic comic aspects – intentionally, it should
be noted – it is entertaining enough to sit through. I can’t
decide if being familiar with the play enhances or diminishes one’s
appreciation of this rendering. Falstaff, for instance, is partly
the adapter’s noir figure and partly Shakespeare’s deluded
bumbler. (Mr. O’Connell relishes both personalities.) With minimal
costume changes and mostly minor inflection variations, it’s
difficult at times to discern who’s supposed to be whom, although
Ms. Szadkowski is unmistakably Brook (faux Master Page) when she dons
Marge Gunderson’s “Fargo” hat…an indelible
image. And who knew that Mistress Quickly, who brings entrapment messages
to Falstaff, was Nuyorican? A pin-point-perfect embodiment by Ms.
Lewis.
All things considered, be you Shakespeare buff or not, this “Merry
Wives” would be among the least taxing couple hours of your
week.
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