By Nick Pilgrim.
In my fifteen years of reviewing for Theatre Matters (previously known as Theatre People), I have had the privilege to witness first-hand the continual growth and evolution of what constitutes live theatre.
From shows which push technical boundaries such as The Curious Incident Of The Dog In The Night Time to recent productions like My Brilliant Career or A Christmas Carol which blur the fine line between heroes and villains, there is a single key element which links every new experience. That being, to grab a viewer’s attention from the moment they take their seats and keeping them engaged until curtain down.
For almost forty years the Australian Shakespeare Company has given audiences vast scope for choice. Known for playing outdoor venues around the country, this season is no different for the Melbourne based organisation. Their line-up for 2025 includes:
- Alice In Wonderland
- Macbeth
- Mozart By Moonlight
- The Burt Bacharach Songbook In Concert
- The Piano Men
- The Wind In The Willows
- Tinkerbell And The Dream Fairies
- We May Never Meet Again (The Music Of Amy Winehouse)
There is something to be said for seeing entertainment under the stars. While nature does the heavy lifting in terms of building atmosphere and mood, the ASC brand is known for its relaxed mindset which takes full advantage of our collective summer holiday spirit.
This season, the organisation’s clever staging with The Merry Wives Of Windsor continues this long-standing tradition.
More than four hundred years after its publication, the beauty in William Shakespeare’s prose is its ability to remain fresh and relevant for modern audiences. For example, in the past year alone I have seen two different companies reinvent Macbeth in completely different yet equally imaginative and compelling productions.
Like Much Ado About Nothing which I critiqued two years ago at the same venue, The Merry Wives Of Windsor reinforces ASC’s playful approach in stretching Shakespeare’s global appeal to the hilt.
Where that show recalibrated the story’s basic premise and made it about two rival rock bands, The Merry Wives of Windsor is reimagined as a swinging seventies key party in the style of Stephan Elliot or Baz Luhrmann. Think Romeo and Juliet played strictly for laughs, and you’ll get the general idea.
In short, the basic plot centres on the character of Sir John Falstaff.
Determined to resolve his financial problems, Falstaff focusses his attention on the wives of two wealthy merchants. Seducing them with two identical letters, soon however, the women discover his deception. With the help of their husbands and friends, the play quickly hits its stride when the pair make it their mission to exact revenge.
Fronted by a sixteen-strong cast, the show is presented like the Carry On movie franchise come to life. Underscored with fast action, colour and movement, there is nary a dull moment in the two hour and twenty-minute running time (plus intermission).
The experienced veteran cast includes:
- Elizabeth Brennan (Mistress Ford – Alice)
- Anna Burgess (Mistress Page – Margaret)
- Alex Cooper (Abraham Slender)
- Claire Duncan (Robin)
- Tash Herbert (Mistress Quickly)
- Kevin Hopkins (Robert Shallow)
- Peter Houghton (Sir John Falstaff)
- Luke Lennox (George Page)
- Jackson McGovern (Jack Ford)
- Scott Middleton (Peter Simple)
- Dion Mills (Sir Hugh Evans)
- Callum O’Malley (Fenton)
- Tony Rive (Doctor Caius)
- Hugh Sexton (Bardolph)
- Maddie Somers (Anne Page)
- Larissa Teale (Nun / Understudy)
The beauty in this production is that it is very much about the ensemble. While each of the leads has their moment in the sun, how the performers interact and connect with one another elevates the overall experience to another level.
Working fast and loose, that energy translates into a journey which will invest fans and friends of Shakespeare alike. For newcomers to The Bard’s work, I cannot think of a happier pathway into the performing arts than the steps ASC are taking.
Whether they are running through the audience or charging on and off stage using various modes of transport, the team also take full advantage of the outdoor space available to them.
This quality is fully reflected in the show’s robust production values as well. Knowing that we are outdoors and potentially at odds with the elements, intelligent creative and technical choices led by Glenn Elston’s direction make for cohesive evening’s entertainment.
They are supported by excellent musical direction and sound design by Paul Norton. When you are working in an open space, it is crucial for the performers to be miked. If you’re working with a strict budget, making sure this happens should take place above anything else. (Many years ago, I saw A Midsummer Night’s Dream which wasn’t, and the actors’ dialogue was swallowed up into thin air.)
Choreography (by Sue-Ellen Shook), costumes, set design & props (by Kaspa Elston) add to the hilarious disco vibe. Karla Erenbots was responsible for costume tailoring. At times, I felt like I was watching my parents’ generation and their friends in full party mode. Dressing the outfits in distinct shades of green, purple, and orange, also helped to differentiate between each family and their friends as well.
Rounding out the crew and making sure of a smooth ride were Peter Amesbury and Kelly Harris (Production Management), Sophie Walter (Stage Management), Dave Angelico (Site Construction), and Will Leslie (Sound Operator). Audio and Lighting Load In were by Joshua Sunderland and Zac Krause.
There is no doubt about The Merry Wives Of Windsor; ASC plays to its absolute strengths. Playing until January 25, I cannot think of a better way to take advantage of Melbourne’s glorious evening as well.
Image: Ben Fon
