The Merry Wives(l-r) Safiya Fredericks (Mistress Ford) and Leotyne Mbelle-Mbong (Mistress Page)and send Falstaff (Beli Sullivan) “to the cleaners” in The Merry Wives of Windsor by the African-American Shakespeare Company
THE MERRY WIVES OF WINDSOR by William Shakespeare. Adapted and directed by Becky Kemper. African-American Shakespeare Company, Buriel Clay Theater at the African-American Art & Culture Complex, 762 Fulton Street, S. F. 800-838-3006 or www.African-AmericanShakes.org. May 2 -24, 2013
MERRY WIVES OF WINDSOR by the African-American Shakespeare Company(A-ASC) is Shakespeare on the “Chitlin Circuit.”
Shakespeare’s The Merry Wives of Windsor is a comedy/farce that begs to be staged/spoofed as a concept performance and that is exactly what is happening at the Buriel Clay Theater at the African-American Art & Culture Complex. It is a wild, wacky, ribald and uneven night of fun where the cast shares their enthusiasm and the lights never dim on the audience.
Adapted and directed by Becky Kemper, a relative Bay Area newcomer, who founded the Maryland Shakespeare Company has pulled out all the stops to make it a solid African-American production. Taking a cue from the “chitlin’ circuits” that were the only places African-Americans could perform prior to 1960 racial integration. She has selected the time of 1950 as an appropriate era.
Before the play begins the audience is warmed up by members of the cast singing acappella and dancing to songs of the 50s advising that the auditorium lights would remain on for the entire show to encourage participation by the audience members who obliged with synchronous clapping to the music and singing when asked. The two intervals between the acts continued the audience interaction
In Shakespeare’s time women were not allowed on the stage and men dressed and played as women. A-ASC has turned that around and many of the male characters are played by women, including the pivotal role of Sir John Falstaff (Beli Sullivan) adorned with a false pot-belly to rival all pot bellies. That conceit works well earning most of the laughs. Casting of Tavia Percia and Fe’lisha Goodlow as Pistol and Nim (respectively) members of Falstaff’s gang is not so successful.
The familiar story line involves Falstaff the disenfranchised free spirit of Shakespeare’s King Henry IV plays who hatches a plot to gain money by wooing and winning the love of two wealthy wives Mistresses Ford (Leotyne Mbelle-Mbong) and Page (Safiya Fredericks). Falstaff’s shenanigans go astray when the ladies discovered that each has received identical love letters from the treacherous would be swain. They plan revenge to end all comical revenge plans and our intrepid Sir John suffers well deserved indignities. Egotistical Falstaff is conned into a second try at seducing the Merry Wives and that has a more unsuccessful ending in the most riotous scene of the evening. A major factor in creating conflict is the jealous Master Ford (Armond Dorsey) who sets his own trap to determine his wife’s suspected infidelity.
The secondary storyline involves the thwarted love of young Anne Page (Tavia Percia) for her paramour Fenton (Terrence Moyer). It seems that Justice Shallow (Twon Marcel) has a not too bright nephew Master Slender (Terrence Moyers doubles in the role) also seeking the hand and fortune of Anne. Then there is French Dr. Casius (Martin Grizzell) who is also hot for Anne and he has a grievance with Reverend Evans who supports Slender’s suit for Anne. This leads to a hilarious “fight” between the Dr. and the Reverend. Would you believe a duel with boxing gloves and kung-fu replacing swords and the antagonists becoming good friends? Believe it!
Director Kemper encourages broad acting styles and encourages mugging. Safiya Fredericks, Leontyne Mbele-Mbong and Tavia Percia are drop dead gorgeous and Armond Dorsey gives a strong display of Master Ford’s insecurity and jealousy. Sheri Young’s portrayal of Quickley, a pivotal role needs work. Martin Grizzel’s tall stature and inane nonstop antics dominates whenever he is on stage. His homoerotic twist in the final scene is a hoot and a holler.
The staging is appropriately bare bones with the minimal scenery changes keeping the action moving as well as adding to the overall humor of the evening. Running time two hours and 30 minutes with two ‘interludes’.
Kedar Adour, MD
Courtesy of www.theatreworldinternetmagazine.com
