The Hills of Fake Iowa, And The Deadly Effects Of Marriage

Francie Ford (Robin Goodrin Nordli) and George Page (Ted Deasy) learn about their wives (Gina Daniels, Terri McMahon) schemes to have their revenge on Senator John Falstaff. Photo by T. Charles Erickson.

At long last, and after much (internal, completely unnoticed by other humans) agonizing on my part, Part III:
Marriage

“I’ve never seen Christopher Liam Moore do anything – acting or directing – that I didn’t think was fantastic,” I said to my partner before we headed into the CLM-directed The Very Merry Wives of Windsor, Iowa. “Also, I’ve interviewed (Very Merry Wives writer) Alison Carey, and she’s brilliant, so I have hope for this play.”

Yeeeeeeaaaaaaaah.

I still think CLM usually kicks acting and directing butt (2010’s Cat on a Hot Tin Roof should have won national awards), and I still believe Alison Carey is brilliant. Her ability to combine the script of Shakespeare’s The Merry Wives of Windsor with contemporary English should win her some kind of adaptation/reinvention prize, at least in terms of language. But dear god, this play? This farce gone overboard? This parody without end? No.

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