Overview
Synopsis
The boozing and boorish Sir John Falstaff (from Shakespeare’s Henry IV Part One and Henry IV Part Two) is in Windsor looking to have fun. But he’s running out of money, and so hatches a plot to woo a wealthy wife away from her husband and get her money. But instead of sending a love letter to just one woman, he sends identical letters to two: Mrs. Page and Mrs. Ford. The women learn about Falstaff’s dishonorable intentions, and set out to humiliate him appropriately. At the same time, several local men are vying for the hand of Anne Page, the proprietor of the local tavern hangout plays practical jokes on various citizens, and the children of the city join in a masque to scare Falstaff. A play full of witty characters, language and word play, and practical jokes against Falstaff, The Merry Wives of Windsor is a lovely romp with a delightfully happy ending.
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Context
The Merry Wives of Windsor, first written around 1597, has a strange origin. According to historical accounts, Elizabeth I enjoyed the character of Sir John Falstaff in the Henry IV plays so much that she wanted to see him onstage again. Rather than write more about royalty, Shakespeare created a “comedy of manners”-style farce for the companion of King Henry IV and Prince Hal. Using Falstaff’s boozing and cheating character traits as inspiration, the knight wreaks havoc on the town of
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Act One
Outside Mr. Page’s house in Windsor, Justice Shallow, his cousin Slender, and Parson Hugh Evans gather. They are ready to confront Sir John Falstaff, a local knight who has insulted Shallow: “You have beaten my men, killed my deer, and broke open my lodge.” What’s more, Falstaff’s followers (Bardolph, Pistol, and Nym) drank with Slender at a local tavern and when he was drunk, the three robbed him. Falstaff admits to being a scoundrel, even though his men deny doing anything wrong.
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Character Portrayals
See StageAgent members who have performed roles in The Merry Wives of Windsor.
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Key Terms
A lively or playful leap or dance; in drama, it can refer to light-hearted mischief or comic adventure.
To scold or rebuke, frequently appearing in English Renaissance drama.
A satirical genre of the English Renaissance focusing on urban life and social behavior.
To deceive or trick; used in older dramatic works to describe manipulation or con artistry.
A term for a man whose partner is unfaithful, often used in comedic and tragic theatre to portray shame and jealousy.
Queen of England whose reign supported the flourishing of English Renaissance theatre and the works of Shakespeare.
Relating to the reign of Queen Elizabeth I, marked by flourishing English drama and playwrights like Shakespeare and Marlowe.
A term in classical medicine and drama referring to bodily fluids that affect temperament; also used to mean comedy. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
A servant or deceitful man, often used in Shakespearean plays as a term of insult or social rank. This archetype is common in comedic and villainous roles in English Renaissance drama, revealing class tensions and dramatic contrasts.
A form of festive court entertainment combining poetry, music, dance, and elaborate costumes, popular in 16th and 17th century England. Masques were often allegorical and featured aristocratic performers.
A tailored costume representing formality, social status, or time period. Suits are used to define character and context.
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Guide Written By:
Cindi Calhoun
Theatre teacher, director, writer, and seamstress