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