REVIEW
Southend Shakespeare Company presents
THE MERRY WIVES OF WINDSOR
by William Shakespeare
Dixon Studio, Palace Theatre
28th November – 2nd December 2023
Southend Shakespeare Company presents
THE MERRY WIVES OF WINDSOR
by William Shakespeare
Dixon Studio, Palace Theatre
28th November – 2nd December 2023
William Shakespeare's The Merry Wives of Windsor is a delightful and enduring farce that has captivated audiences for centuries. Set in the bustling town of Windsor, the play revolves around the mischievous antics of Sir John Falstaff, a corpulent and self-important knight who seeks to seduce two married women, Mistress Page and Mistress Ford and sends them two identical love letters. However, Falstaff's amorous plans are quickly foiled by the clever and resourceful wives, who discover his double dealing and devise a series of hilarious schemes to expose and humiliate him.
Shortly before curtain up, we are treated to a lively pre-amble with all of the players giving us a fabulous opportunity to discover the flavour of the piece and a heightened anticipation of what’s to come. The set on the Dixon Studio stage, is simple yet effective with the backcloth depicting the grand Windsor Castle and to the right of the stage we have the set that takes turns to depict the tavern and the Ford residence. A simple set is all that is needed when the occupants of the stage are furnished in such wonderfully opulent costumes. Madeleine Carter’s costume sourcing and needlework here should win an award of its own. Every beautifully woven costume is worthy of praise, such is the attention to detail; and each character looks perfectly their part. The comedy of the piece is immediately set up during this pre-amble alongside a cleverly choreographed pick-pocket skit which was highly amusing.
Needless to say this is a play with plenty of colourful and amusing characters and Southend Shakespeare Company have some of its finest performers in this cast. Eliot Bigden would seem perfectly cast, playing Abraham Slender as the fumbling air-head attempting to woo Anne Page - beautifully played by Megan Condon - and frequently has the audience chuckling at his pathetic chat up line attempts.
Dave Lobley puts on his finest Scottish lilt to pull off some great characterisation, and laughs from the audience, in the role of Pistol and likewise with Andrew Sugden as Sir Hugh Evans showing off a very thick Welsh accent. And, talking of accents, the show-stopper award for accents in this production must surely go to the actor playing the role of Doctor Caius. Matthew Willis oozes hilarity from the moment he steps on stage. He could easily be any number of characters in an episode of Black Adder - there’s definitely some Hugh Laurie vibes going on. However, the cod French accent that Willis has perfected for this role, alongside some fabulous body language, really is spot on and had the first night audience in fits of laughter from the get go.
Stagecraft is something that comes from experience and this shows in the characters of Frank Ford, Mistress Quickly, Mistress Ford and Mistress Page played by James Carter, Elena Clements, Julie Carter and Tracey Anne-Bourne. Carter as the jealous husband plays a blinder as both the husband and especially delights as he dresses up in disguise as Master Brooke. Clements has such wonderful stage presence you are instantly drawn into Mistress Quickly's world, with a natural and believable portrayal of the free spirited and money motivated go-between of the action. Carter and Bourne as the two ‘merry wives' plotting to humiliate the rotund, down on his luck, spiff, Sir John Falstaff, really gel as they portray the sense of fun that these roles have given license to the actors to play with. Mistress Page’s glee is endearingly evident as they plot their wickedly funny plans in order to give Falstaff his come-uppence. I also enjoyed Vanessa Osborn as a delightfully fun Hostess of the Garter.
There’s plenty of action in this play and the whole cast do a great job in moving a 2 hours and 40 minute production along at a great pace (there’s an interval of 15 mins). The main player, of course, is that of Sir John Falstaff and Ross Norman-Clarke is the actor who gets to take on the big guy. Apparently Queen Elizabeth I loved the larger than life character so much in Shakespeare’s earlier Henry IV Part 1 and 2 plays that she demanded another be written about Falstaff being in love. Hence, the Merry Wives of Windsor was penned with Falstaff still as portly, boozy and full of self-deprocating wit as ever. Norman-Clarke’s interpretation really delivers, with some fabulous comic timing and movement. There’s definitely a touch of the Terry Thomas, and ‘nudge nudge, wink wink’ humour about this Falstaff and it really works a treat. I think Queen Elizabeth I would be suitably delighted with Norman-Clarke’s portrayal of the arrogant and pompous knight.
The Merry Wives of Windsor is full of fun, slapstick, mistaken identities, innuendoes and cheeky double-entendre humour. It’s an age old farce that actually still bears relevance today, with themes of marriage, jealousy and revenge, social class and wealth. It is also infused with sharp wit and social commentary with Shakespeare poking fun at the pretensions of the upper classes that really are timeless.
Director, Madeleine Ayres has clearly worked hard with this cast to produce a play that is delightfully entertaining and perhaps just a tad naughty, but is certain to please audiences of all ages. It is a celebration of wit, ingenuity, and female empowerment, and its humour is still as sharp and witty as it was when it was first written.
Review: Kim Tobin
Shortly before curtain up, we are treated to a lively pre-amble with all of the players giving us a fabulous opportunity to discover the flavour of the piece and a heightened anticipation of what’s to come. The set on the Dixon Studio stage, is simple yet effective with the backcloth depicting the grand Windsor Castle and to the right of the stage we have the set that takes turns to depict the tavern and the Ford residence. A simple set is all that is needed when the occupants of the stage are furnished in such wonderfully opulent costumes. Madeleine Carter’s costume sourcing and needlework here should win an award of its own. Every beautifully woven costume is worthy of praise, such is the attention to detail; and each character looks perfectly their part. The comedy of the piece is immediately set up during this pre-amble alongside a cleverly choreographed pick-pocket skit which was highly amusing.
Needless to say this is a play with plenty of colourful and amusing characters and Southend Shakespeare Company have some of its finest performers in this cast. Eliot Bigden would seem perfectly cast, playing Abraham Slender as the fumbling air-head attempting to woo Anne Page - beautifully played by Megan Condon - and frequently has the audience chuckling at his pathetic chat up line attempts.
Dave Lobley puts on his finest Scottish lilt to pull off some great characterisation, and laughs from the audience, in the role of Pistol and likewise with Andrew Sugden as Sir Hugh Evans showing off a very thick Welsh accent. And, talking of accents, the show-stopper award for accents in this production must surely go to the actor playing the role of Doctor Caius. Matthew Willis oozes hilarity from the moment he steps on stage. He could easily be any number of characters in an episode of Black Adder - there’s definitely some Hugh Laurie vibes going on. However, the cod French accent that Willis has perfected for this role, alongside some fabulous body language, really is spot on and had the first night audience in fits of laughter from the get go.
Stagecraft is something that comes from experience and this shows in the characters of Frank Ford, Mistress Quickly, Mistress Ford and Mistress Page played by James Carter, Elena Clements, Julie Carter and Tracey Anne-Bourne. Carter as the jealous husband plays a blinder as both the husband and especially delights as he dresses up in disguise as Master Brooke. Clements has such wonderful stage presence you are instantly drawn into Mistress Quickly's world, with a natural and believable portrayal of the free spirited and money motivated go-between of the action. Carter and Bourne as the two ‘merry wives' plotting to humiliate the rotund, down on his luck, spiff, Sir John Falstaff, really gel as they portray the sense of fun that these roles have given license to the actors to play with. Mistress Page’s glee is endearingly evident as they plot their wickedly funny plans in order to give Falstaff his come-uppence. I also enjoyed Vanessa Osborn as a delightfully fun Hostess of the Garter.
There’s plenty of action in this play and the whole cast do a great job in moving a 2 hours and 40 minute production along at a great pace (there’s an interval of 15 mins). The main player, of course, is that of Sir John Falstaff and Ross Norman-Clarke is the actor who gets to take on the big guy. Apparently Queen Elizabeth I loved the larger than life character so much in Shakespeare’s earlier Henry IV Part 1 and 2 plays that she demanded another be written about Falstaff being in love. Hence, the Merry Wives of Windsor was penned with Falstaff still as portly, boozy and full of self-deprocating wit as ever. Norman-Clarke’s interpretation really delivers, with some fabulous comic timing and movement. There’s definitely a touch of the Terry Thomas, and ‘nudge nudge, wink wink’ humour about this Falstaff and it really works a treat. I think Queen Elizabeth I would be suitably delighted with Norman-Clarke’s portrayal of the arrogant and pompous knight.
The Merry Wives of Windsor is full of fun, slapstick, mistaken identities, innuendoes and cheeky double-entendre humour. It’s an age old farce that actually still bears relevance today, with themes of marriage, jealousy and revenge, social class and wealth. It is also infused with sharp wit and social commentary with Shakespeare poking fun at the pretensions of the upper classes that really are timeless.
Director, Madeleine Ayres has clearly worked hard with this cast to produce a play that is delightfully entertaining and perhaps just a tad naughty, but is certain to please audiences of all ages. It is a celebration of wit, ingenuity, and female empowerment, and its humour is still as sharp and witty as it was when it was first written.
Review: Kim Tobin
The Merry Wives of Windsor has retained its place as one of Shakespeare’s most popular comedies and features one of the bard’s greatest comic creations, Sir John Falstaff.
‘Merry’ is very much the emphasis of The Merry Wives of Windsor; with jokes, pranks, disguises and trickery being the name of the game.
All the plotting and subterfuge culminates in the characters meeting at night at Windsor Park, in various costumes and disguises — anything can and will happen…
Don't miss this hilarious Shakespearean farce!
Dixon Studio, Palace Theatre
28th November – 2nd December 2023
Tue/Wed/Thu/Fri/Sat at 7.45pm Sat Mat 3.00pm
£16.00 / Concs. £1.50 off
Cast & Backstage Crew
SIR JOHN FALSTAFF Ross Norman-Clarke
MISTRESS FORD Tracey-Anne Bourne
FRANK FORD James Carter
MISTRESS PAGE Julie Carter
GEORGE PAGE George Bassett
ANNE PAGE Megan Condon
FENTON Alex Severne
JUSTICE SHALLOW Denis Foot
SIR HUGH EVANS Andrew Sugden
DOCTOR CAIUS Matthew Willis
MISTRESS QUICKLY Elena Clements
JOHN RUGBY Ian Hart
ABRAHAM SLENDER Elliot Bigden
SIMPLE Parker Jace Martin
HOSTESS OF THE GARTER Vanessa Osborn
BARDOLPH Malcolm Toll
PISTOL Dave Lobley
NYM Carrie Groves
SURLY Michael Clements
LUCE Cathy Memery
For more information about the SSC visit our website at
southendshakespeare.org.uk
Facebook
https://en-gb.facebook.com/groups/8772568988/photos
Instagram
https://instagram.com/southendshakespearecompany?utm_medium=copy_link
Twitter
https://twitter.com/SouthendShakes1
‘Merry’ is very much the emphasis of The Merry Wives of Windsor; with jokes, pranks, disguises and trickery being the name of the game.
All the plotting and subterfuge culminates in the characters meeting at night at Windsor Park, in various costumes and disguises — anything can and will happen…
Don't miss this hilarious Shakespearean farce!
Dixon Studio, Palace Theatre
28th November – 2nd December 2023
Tue/Wed/Thu/Fri/Sat at 7.45pm Sat Mat 3.00pm
£16.00 / Concs. £1.50 off
Cast & Backstage Crew
SIR JOHN FALSTAFF Ross Norman-Clarke
MISTRESS FORD Tracey-Anne Bourne
FRANK FORD James Carter
MISTRESS PAGE Julie Carter
GEORGE PAGE George Bassett
ANNE PAGE Megan Condon
FENTON Alex Severne
JUSTICE SHALLOW Denis Foot
SIR HUGH EVANS Andrew Sugden
DOCTOR CAIUS Matthew Willis
MISTRESS QUICKLY Elena Clements
JOHN RUGBY Ian Hart
ABRAHAM SLENDER Elliot Bigden
SIMPLE Parker Jace Martin
HOSTESS OF THE GARTER Vanessa Osborn
BARDOLPH Malcolm Toll
PISTOL Dave Lobley
NYM Carrie Groves
SURLY Michael Clements
LUCE Cathy Memery
For more information about the SSC visit our website at
southendshakespeare.org.uk
https://en-gb.facebook.com/groups/8772568988/photos
https://instagram.com/southendshakespearecompany?utm_medium=copy_link
https://twitter.com/SouthendShakes1
CURTAIN CALL
with Julie Carter, 67, from Leigh on Sea
with Julie Carter, 67, from Leigh on Sea
When did you start to take an interest in theatre? Did you take part in any productions at school?
At a very early age; our parents used to take us to the panto at The Palace, every Christmas and one year we went to The Palladium and saw Cilla Black as Aladdin. At junior school I was always involved productions and I played the White Rabbit in Alice in Wonderland, when I was nine.
Are or were any members of your immediate family involved in drama?
My grandmother who lived with us when we were little had tried to run away to Ireland with a theatrical troupe in her teens. She was a born performer and was always bursting into Music Hall songs (not the rude ones!). My partner, Andrew, my brother, Jim and my sister in law, Maddie are all in the Southend Shakespeare Company.
Have you done any sort of formal training for acting/singing/dancing?
No, no formal training.
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
I love trying out accents and using my languages. Over the years, I have used, French, Spanish, Italian, German and Japanese in various productions.
Which experience/role do you regard as the highlight of your amdram career to date?
I loved playing Beatrice in Much Ado About Nothing, with Andrew as Benedick. I also enjoyed the fun part of Clarice in The Servant of Two Masters.
What has been your most embarrassing moment involving drama, on or off stage?
It has to be the first night of The Importance of Being Earnest, back in 2012.
I was playing Lady Bracknell and somehow I managed to skip over the famous, ‘ A HANDBAG!’ line. I still need therapy whenever I think of it!
How do you earn your living?
I am now retired but was a Languages Teacher for over 40 years. I now teach Spanish to a lovely U3A group.
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
Definitely, teaching involves a great deal of acting and timing. Hopefully, I can be helpful with pronunciation of foreign language words.
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I have lovely bunch of friends with SSC but also regularly meet up with old schoolfriends I’ve known for over 60 years.
Which actor do you most admire and why?
This is tough; Daniel Day Lewis, for his brooding intensity and smoulder factor, Mark Rylance, for his amazing range and versatility and Roger Allam, for his honeyed voice.
What role would you most like to play and why?
I would love to play a real baddie, someone like, Iago in Othello but juicy character parts are always fun to do.
Ever corpsed on stage? What happened?
In Much Ado, Beatrice and Ursula are listening intently to the Priest, explaining a plot to save the honour of the wronged, Hero. My dear friend Sandra and I were playing the two girls but the Priest’s line were all over the place and Sandra and I were gripping each other tightly and trying to stife the giggles as we weren’t sure what he was saying and when he was going to stop saying it. However, the actor spoke the words with such authority, nobody in the audience noticed.
Tell us a bit about "The Merry Wives of Windsor"
It’s one of my favourites. This production marks the third time I have played Mistress Page and I have also directed it once. It is full of wonderful comic characters. Most people will have heard of the brilliant, Falstaff but there’s also, Ford, Dr Caius, Hugh Evans and more. The wives have so much fun plotting to trick Falstaff. It’s a real hoot.
Any plans for the future, after "The Merry Wives of Windsor”?
Yes, I am delighted to be an assistant director for next year’s Summer show, ‘The Liar’, by Goldoni. It’s a frothy comedy with a cast of larger than life characters and it promises to be perfect for an outdoor production.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
I find it helpful to record the other characters’ lines and then listen back and say my lines in the gaps.
At a very early age; our parents used to take us to the panto at The Palace, every Christmas and one year we went to The Palladium and saw Cilla Black as Aladdin. At junior school I was always involved productions and I played the White Rabbit in Alice in Wonderland, when I was nine.
Are or were any members of your immediate family involved in drama?
My grandmother who lived with us when we were little had tried to run away to Ireland with a theatrical troupe in her teens. She was a born performer and was always bursting into Music Hall songs (not the rude ones!). My partner, Andrew, my brother, Jim and my sister in law, Maddie are all in the Southend Shakespeare Company.
Have you done any sort of formal training for acting/singing/dancing?
No, no formal training.
Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire?
I love trying out accents and using my languages. Over the years, I have used, French, Spanish, Italian, German and Japanese in various productions.
Which experience/role do you regard as the highlight of your amdram career to date?
I loved playing Beatrice in Much Ado About Nothing, with Andrew as Benedick. I also enjoyed the fun part of Clarice in The Servant of Two Masters.
What has been your most embarrassing moment involving drama, on or off stage?
It has to be the first night of The Importance of Being Earnest, back in 2012.
I was playing Lady Bracknell and somehow I managed to skip over the famous, ‘ A HANDBAG!’ line. I still need therapy whenever I think of it!
How do you earn your living?
I am now retired but was a Languages Teacher for over 40 years. I now teach Spanish to a lovely U3A group.
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
Definitely, teaching involves a great deal of acting and timing. Hopefully, I can be helpful with pronunciation of foreign language words.
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I have lovely bunch of friends with SSC but also regularly meet up with old schoolfriends I’ve known for over 60 years.
Which actor do you most admire and why?
This is tough; Daniel Day Lewis, for his brooding intensity and smoulder factor, Mark Rylance, for his amazing range and versatility and Roger Allam, for his honeyed voice.
What role would you most like to play and why?
I would love to play a real baddie, someone like, Iago in Othello but juicy character parts are always fun to do.
Ever corpsed on stage? What happened?
In Much Ado, Beatrice and Ursula are listening intently to the Priest, explaining a plot to save the honour of the wronged, Hero. My dear friend Sandra and I were playing the two girls but the Priest’s line were all over the place and Sandra and I were gripping each other tightly and trying to stife the giggles as we weren’t sure what he was saying and when he was going to stop saying it. However, the actor spoke the words with such authority, nobody in the audience noticed.
Tell us a bit about "The Merry Wives of Windsor"
It’s one of my favourites. This production marks the third time I have played Mistress Page and I have also directed it once. It is full of wonderful comic characters. Most people will have heard of the brilliant, Falstaff but there’s also, Ford, Dr Caius, Hugh Evans and more. The wives have so much fun plotting to trick Falstaff. It’s a real hoot.
Any plans for the future, after "The Merry Wives of Windsor”?
Yes, I am delighted to be an assistant director for next year’s Summer show, ‘The Liar’, by Goldoni. It’s a frothy comedy with a cast of larger than life characters and it promises to be perfect for an outdoor production.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
I find it helpful to record the other characters’ lines and then listen back and say my lines in the gaps.
Below: In rehearsal
