I’m a sucker for Shakespeare done in the out-of-doors. When old Will’s words are performed in the Heritage Amphitheatre beside the lake in the heart of Edmonton’s central River Valley Parks, it’s hard for a company to do wrong by me. I admit, however, that, even after the Freewill Players‘s salvation (in the face of a last minute catastrophic loss-of-venue) of Willy’s irredeemably misogynistic Taming of the Shrew a few seasons ago, I wondered if Artistic Director Marianne Copithorne and the cast and crew could make the fat-shaming Merry Wives of Windsor palatable to a contemporary audience. After seeing the riotous yet gentle performance this evening, I’m joyously gobsmacked and now excited to see in a few days the Freewill redemption of the extremely problematic The Merchant of Venice.
The weather was beautiful as the happy audience of all ages, from newborn to a few even older than me strolled across the lawns to the gate. The Moon was rising, the Sun very slowly setting (we’re closer to the Pole than the Equator, after all). As always there were 50-50 tickets to be purchased (again I didn’t win) and nifty Freewill t-shirts and undershorts with Shakespeare’s face printed on them available to take home for a reasonable price. And local beer (and wine) and lots of snacks and popcorn (for the perennial squirrels, I think). As I sat in one of the eleven hundred or so best seats in the house, I snapped a picture of the set and sent it out over twitter saying that I felt that summer had now truly arrived for me because I was at Freewill. Perhaps it is a sign of thespian focus and professionalism that one of the cast “favourited” my tweet from the green room during intermission. Truly, that moment of electronic connection is a hint of the deep connection the Freewill Players and their audience feel with each other. Every member of the cast, from the semi-retired John Wright to the newest members of the company seems like a friend or a buddy.
I can’t help but imagine that something similar must have been the relationship between Shakespeare’s company, the Kings Men, and his audience around the turn of the 17th Century. London in 1600 had about a fifth the population of Edmonton today. I suspect Edmonton has at least five times as many theatre companies and theatre-goers as London had in Shakespeare’s day.
But that’s a discussion for another day . . .
I’m not going to give anything away about Freewill’s wonderful production of The Merry Wives of Windsor except to say it is a truly wonderful production, full of joy and laughter and teasing and surprises and a very satisfying reconciliation for all at the end. The performances are uniformly outstanding, from the smallest bit to Robert Benz’s absolutely brilliant turn as Sir John Falstaff. Everyone shines, the costumes are stunning, the multi-level, angular set is marvelously utilized . . . you get the picture. And the show was an over-the-top merry romp that left everyone as jolly and carefree as Jesse Gervais’ pharmaceutically enhanced Host of the Garter Inn.
The only shortcoming of the production — and I mean that: the only shortcoming of the production as witnessed by me tonight was technical trouble with the actors’ headset microphones/sound system. I understand this has been an intermittent problem throughout the run so far. I hope, of course, that the problem is rectified soon, but I must compliment the cast: every word carried throughout the amphitheatre, whether the mics were working or not.
Thank you, Freewill Players. You have become a joyous and joy-giving part of the fabric of Edmonton’s civic life.
The Merry Wives of Windsor plays, alternating with The Merchant of Venice, until July 16, 2017. If you like being happy, go clap and laugh along with The Merry Wives and their friends, please.