I’ve always thought of The Merry Wives of Windsor as a sort of Shakespearean “beach read.” And I mean that in the best possible way. Is this offbeat comedy the Bard’s finest work? Perhaps not. But it’s light, accessible and wholly entertaining — everything you could want from a Summer Shakespeare production. And Nashville Shakespeare Festival’s current staging, which continues through Sept. 21 at OneC1ty, is packed with great performances, ensuring plenty of fast-paced fun.
As the show opens, we meet the bumbling Falstaff — a once-prosperous knight who has fallen on hard times. Certain of his irresistible charms, he launches a plan to solve his financial woes by seducing the wives of two wealthy merchants. Alas, poor Falstaff is no match for these good ladies. They soon discover his unsavory scheme and set out for revenge, subjecting the unfortunate fellow to all manner of mischief, mayhem and misery.
Director Beki Baker has elected to maintain the work’s traditional Elizabethan setting, but there’s certainly nothing staid or stuffy about this production. In fact, she leans heavily into the freewheeling humor, allowing the action — and laughs — to flow with almost giddy glee. Baker also makes excellent use of the performance space, creating unexpected opportunities for the actors to interact with audience members without it ever feeling forced.
Galen Fott leads a fabulous ensemble as Sir John Falstaff, a blustering yet oddly lovable scoundrel who’s absolutely convinced of his ability to woo the ladies. Fott throws himself into the role, strutting about the stage like a declining peacock, stroking his whiskers and punctuating each line with a pompous smirk or swagger. In one particularly goofy bit, he is forced to take cover in a smelly laundry basket and is subsequently dumped into the River Thames. “I have a kind of alacrity in sinking,” he solemnly admits, before bursting into a hilarious fit of sneezes.
It’s wonderful to see Evelyn O’Neal back onstage as the formidable Mistress Alice Ford, executing the part with boundless energy and crackerjack timing. Newcomer Ana Harvey makes a marvelous NSF debut as the good-natured Mistress Margaret Page. Perfectly paired for even the most absurd conspiratorial escapades, these accomplished actors work each frenzied scene to maximum effect. When a helicopter threatened to disrupt the opening-night revelry, they simply paused to watch it pass overhead, before sharing a knowing glance with the audience and blaming the “fairies” of Windsor Forest.
Eric D. Pasto-Crosby also deserves mention for his portrayal of the not-so-merry Mister Ford, balancing an easy command of the language with ridiculous fits of jealousy. In a piece swimming with kooky characters, he nearly steals the show — especially when making an appearance as the foppish Mister Brook (a thinly veiled alter ego, designed to ascertain his wife’s true intentions). Nick Govindan is outstanding as Mister Page, providing a nice contrast to the more volatile Ford.
These players receive solid support from a terrific mix of new and familiar faces, including several members of NSF’s Summer Conservatory program. Local favorite Brian Webb Russell is clearly having a ball as the self-righteous Robert Shallow, and Christy Berryessa is appropriately cheeky as the chatty Mistress Quickly. Young Sh’Ahr Blackburn gives us a delightfully dim-witted Slender, while newcomer Joshua Diolosa delivers a wildly eccentric Frenchman in Dr. Caius. Payton Justice embraces Sir Hugh Evans (a comically wordy Welsh parson) with gusto, offering one of the most outrageous accents on record.
Scenic designer Andy Bleiler provides a simple but efficient backdrop for the action. I enjoyed June Kingsbury’s relaxed, colorful Elizabethan costumes, which easily capture the tale’s breezy summer spirit. When the characters finally make their way to the woods (as they often do in Shakespeare’s plays), they are rewarded by Anne L. Willingham’s ethereal lighting. My only complaint is that I sorely missed the live musical elements that we’ve come to expect from Nashville Shakes. But it’s a minor concern in an otherwise polished production. Besides, Baker and sound designer Nivedhan Singh have sourced a rather jaunty soundscape that fits the story’s time period and tone — especially in the final celebratory moments. Add a bit of Kari Cherie Smith’s lively choreography, and you have a merry scene indeed.
And isn’t that what Summer Shakespeare is all about? A joyful gathering of friends and family sharing an evening under the stars, savoring the last delicious bit of summer.
