Host of the Garter

The Star and Garter Inn

The Host of the Garter Inn is an interesting character.  The owner and operator of the Garter, Windsor's pub, the Host is affable, warm, and a bit of a prankster.  I'm most excited because this is a role that could be played by a woman, increasing the adult principal women's roles to four.

One of the most interesting things about the Host is the very distinct speech pattern.  There's a lot of repetition of phrases or entire sentences within a speech.  There's also a lot of talking in short phrases, and even more of hyperbolic talking.  I wonder if Shakespeare patterned the speech pattern after the actual Host of the Garter when he was writing the play; I've not encountered such a distinct speaking pattern in Shakespeare before.

Rehearsal Report--6/20

It was a rerun rehearsal of last week.  The actress playing Anne was not contacted to see if she could attend, so we confirmed old ground and started to get a little more in depth with the characters and individual moments throughout the B- and C- plot.  There was a lot of cleaning up and clarification of blocking.

William Page

Shakespeare as a child?

William is the youngest of the Page children.  William has one scene, where he is asked questions by Sir Hugh Evans and Mistress Quickly plays around with he double meanings and double entendres of some of William's answers. Adding to the mischief is Evan's thick Welsh accent where he pronounces the v-sound as an f-sound.  Since the questions he asks William are about Latin, then there is much humor and naughtiness when he asks William about the Vocative case.

Say "vocative case" out loud but change the opening consonant to an f-sound like Evans does.  Naturally, Quickly's reaction is anything but clean.  It's the lowest of low comedy but it is funny. 

I am toying with cutting this scene, not because the f-word is slyly bandied about but because it halts the forward movement of the show in three ways.  One, it has nothing to do with any other plot and comes fairly late in the show.  Two, the language and the jokes used could be lost on modern audiences.  And three, it may not have been written by Shakespeare anyway.

If I do cut it, I should find something important for William to do.   Perhaps a feature in the fairy dance/song at the end of the show. He will be featured as one of the Page children in the beginning, but there may need to be a few more Page children, thereby lessening his impact.

Costume Notes

--Simple prairie dress or sailor dress is preferred
--Fairy costume

Dr. Caius

The other side of Sir Hugh Evans, our Welsh pastor, is Dr. Caius, our French doctor.  Shakespeare makes more pointed commentary about foreigners with this character and about the utter ridiculousness/futility of the medical practice at the turn of the 17th century.

To catalog all of the ways that Dr. Caius is the butt of the joke would be take too much time and bandwith.  He is foppish but in a far more masculine way than Slender.  He is fiery, quick-tempered, and extremely passionate about the mundane.  He practices his fencing on children.

The actor's struggle becomes to find the point right before it goes over the top. Careful playing on this point will go a long way to make the performance and show extraordinary.

Sir Hugh Evans

Sir Hugh listens

Sir Hugh Evans is a bit of a conundrum.  Shakespeare seems to want it two ways.  He mercilessly makes fun of the Welsh by exaggerating Evans' accent, but he never really goes after them.  He also want Sir Hugh to be the mender of souls, but is careful when attacking the man's profession or station.

Evans is a parson from Wales, and as such quite a few jokes come from his very thick accent.  He is a point of ridicule, but not nearly as much the French Dr. Caius.  There seems to be little real mockery towards the Welsh in the script, unlike the French who take it full on in the face.  Instead, Evans is made ridiculous by the tenants of his own character.

He talks in circles, and at times contradicts himself within the course of a single speech.  The playing of this is key.  It needs to make sense to him and no one else; a sort of Monty Python-esque tribute.

So...Who Are The Merry Wives of Windsor?

This took a little bit longer than I expected.  Essentially there are 19 principal roles, with three of them going to children.  Figuring out the relationships and what makes the characters tick is a time consuming process.  Especially when there are 6 principals who do not have a lot of lines but a lot of stage time.

So let's dig right in and get to the cast breakdown. 

What is The Merry Wives of Windsor?

The Merry Wives of Windsor is one of Shakespeare's middle era comedies which I am going to say was written in 1600.  A far more detailed explanation for my choosing of that date will come in the immediate future.  There is much debate about the actual year of authorship, as there is with most dates for anything Shakespeare related.

I am quite in love the idea that this play was written at the request of Elizabeth I because she enjoyed the character of Falstaff so much and wanted to see a play with him in love. 

The play focuses on the oafish knight Sir John Falstaff and his attempts to woo two married women so that he may be a "kept" man.  A secondary plot revolves around Anne Page, the eldest daughter of one of the women Falstaff is wooing, and the three men that are vying for her affection. 

The comedy is broad, perhaps the broadest of any of the Shakespeare plays, and oftentimes borders on farcical slapstick.  Many contemporary scholars/directors liken it to a sitcom; one of the popular "adapted settings" is that of a 1950's/early 60's sitcom setting.