THE MERRY WIVES OF WINDSOR

THE MERRY WIVES OF WINDSOR By William Shakespeare
Date 23 RD April 2026
Reviewed by Nina Jarram District 3 SW NODA Representative
Society The Tamaritans Theatre Company
Venue Barbican Theatre, Plymouth

Directed By: Vince Sutton

Welcoming audiences into the Barbican Theatre, this inventive production
immediately signalled its playful departure from convention. A montage of familiar
songs, reimagined in a Renaissance style, set an irreverent tone before two
“audience members” revealed themselves as cast, politely excusing their exit and
dissolving the boundary between spectator and performer. This early disruption
established a recurring motif: a bold willingness to fracture the fourth wall in a way
not typically associated with The Merry Wives of Windsor, yet here it fostered an
unexpectedly intimate rapport between audience and character.
The decision to introduce the ensemble en masse proved highly effective,
showcasing a confident command of staging. Each actor delineated status and
personality with clarity, ensuring coherence despite the play’s famously brisk and
intricate plot. Often classified as a farce, the work’s reliance on stock characters,
disguises, and escalating comic scenarios was evident, though not always fully
realised. The limited opportunities for entrances and exits somewhat constrained the
farcical machinery; nevertheless, the direction maintained narrative pace and
purpose throughout.
A standout moment came with Falstaff’s concealment in the laundry
basket—executed with precision and physical flair, evoking echoes of classic
musical comedy such as Annie and Thoroughly Modern Millie. The production also
employed cross-cutting techniques to sharpen narrative clarity, juxtaposed with
direct audience address that added layers of insight and vulnerability. The actor
playing Ford, in particular, handled these moments with assurance, forging an
immediate emotional connection that deepened audience sympathy.
Visually, the set design demonstrated the company’s customary versatility, enabling
fluid transitions between scenes and sustaining momentum. The director’s sensitivity
to William Shakespeare’s linguistic diversity was evident in the varied regional
accents, which effectively reflected distinctions in class, education, and profession.
This attention to vocal identity enriched characterisation and enhanced the
production’s sense of authenticity.

However, some stagecraft issues detracted from the overall polish. Occasional
lapses in projection, moments of actors turning away from the audience, and static
ensemble formations slightly undermined the otherwise dynamic staging. Similarly,
while the play’s predominantly prose-based dialogue, unusual within Shakespeare’s
canon, offers fertile ground for wit and wordplay, not all performers navigated its
rhythms with equal confidence. The more experienced actors demonstrated a keen
grasp of comic timing, whereas others appeared overly focused on textual accuracy,
resulting in diminished spontaneity.
In contrast, the actor portraying Falstaff anchored the production with a commanding
vocal presence and assured delivery, guiding the narrative with clarity and energy.
The integration of music from ABBA, adapted to suit the period aesthetic, added a
layer of charm and cohesion. Yet some choreographic elements, including the
fencing sequence and the fairy ensemble’s climactic dance, lacked refinement. The
latter, in particular, leaned toward pantomime rather than embracing the potential for
a darker, more unified communal response to Falstaff’s misdeeds.
Costume design presented an intriguing but occasionally confusing visual language.
While the men’s contemporary suits suggested a timeless setting, the women’s attire
lacked consistency: Mistress Ford appeared in an authentic looking bell sleeved
Elizabethan gown, while Mistress Page’s 1920s-inspired ensemble introduced a
contrasting aesthetic that was never fully reconciled.
Ultimately, while the male performances brought vigour and robustness to this text-
heavy work, it was the titular Merry Wives who truly captivated. Their deft navigation
of social and personal power, delivered with wit and subversive charm, provided the
production’s most compelling moments. In a play that interrogates gender dynamics
within a male-dominated society, their mischievous intelligence and theatrical
confidence ensured they not only held their own—but decisively stole the show.

PLEASE NOTE: Any observation made by the reviewer can only be based on what he sees at the
performance in question. The reviewer may have received information in advance of the performance
and it is
inevitable that his assessment will be affected by that knowledge.
The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in
particular the performance viewed. It should be remembered that any review of this nature can only
be objective as far as the techniques used during the performance observed. Any criticisms
expressed may not have been valid at other performances, and are only made to encourage higher
standards in Amateur Theatre.
It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and
encouraged you to greater achievements in the future and that the observations made by the reviewer
will prove helpful in improving future productions.

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