A Love Letter or Two: Mammoth Shakes presents “The Merry Wives of Windsor”

The second play in this year’s festival is second to none in belly laughs and outrageous comedy. Shira Dubrovner and her Mammoth Lakes Repertory Theatre have done it again—making people laugh so hard they just might pass away. By the end of this run, we may be posting multiple obituaries on Eastern Sierra NOW!

But in all seriousness, Shira’s signature sense of humor and her ability to deliver a joke a minute are on full display in this comedy by Uncle Billy Shakes. Another interesting twist in this performance was the decision to cast only women. On purpose or necessity? I’m not sure. But it worked. Especially as we all know, or at least us theater majors do, that in Shakespearean theater, women were not allowed to perform. So back then, it was all men. Nice little flippy floppy here. Before we get into the review, here’s a brief synopsis and history of the play.

The Merry Wives of Windsor is a comedic play by William Shakespeare, centered around the character Sir John Falstaff (Michelle Dossey), a boastful and greedy knight. Falstaff, in need of money, attempts to court two wealthy married women, Mistress Ford (Kim Stoiber) and Mistress Page (Marlene Piper), by sending them identical love letters. The two women, upon discovering Falstaff’s scheme, conspire to embarrass him. Throughout the play, Falstaff is repeatedly humiliated as the women trick and deceive him in various comical ways, including disguising him in a laundry basket and dressing him as an old woman. Meanwhile, there is a subplot involving the romantic pursuits of Anne Page (Ana Swisher), who is courted by several suitors. The play ends with Falstaff’s public humiliation and Anne Page’s successful marriage to the man she loves, bringing a lighthearted conclusion.

Shakespeare wrote The Merry Wives of Windsor around 1597. It is unique among Shakespeare’s plays because it is set in a contemporary English town rather than a foreign or historical setting. According to tradition, it is said that Queen Elizabeth I commissioned Shakespeare to write a play featuring the character Falstaff in a humorous, domestic setting, having enjoyed his previous appearances in Henry IV Parts 1 and 2. Is that true? I’m not even sure William Shakespeare was a real person! But we aren’t here to discuss the man, we are here to discuss this hysterical show at Eagle Lodge in Mammoth Lakes.

The play was first performed around 1600 and became popular for its lighthearted, farcical style. Over the years, it has remained one of Shakespeare’s most frequently performed comedies, particularly admired for its lively characters and witty plot. I recently attended a professional version of this very play at the Tahoe Shakespeare Festival, and I must say… ours held its own! I had already developed my favorite characters and performances from the Tahoe version. Since the play was fresh in my mind—only seven days out—I worried this might hinder my ability to fully enjoy the Mammoth version. But I must say, it enhanced it.

I found myself eagerly awaiting each of my favorite characters’ entrances, engaged and excited to see who was cast in these hilarious roles. I intentionally avoided reading the playbill to be surprised. When Michelle Dosey, a queen of deadpan comedy, stepped out as Falstaff, I audibly said “YES!”—much to my neighbor’s chagrin. When Marlene Piper and Kim Stoiber appeared in their giant Marie Antoinette-style makeup and powdered blue and pink wigs, I knew I was in for a treat. My biggest reaction, of course, was to Allison Peeler—possibly one of the funniest women I know—garbling out a French accent as thick and ludicrous as Pepe Le Pew, the Pink Panther, and the entire cast of Monty Python all rolled into one.

Both Tahoe and Mammoth versions leaned heavily into the ridiculousness of the French accent. I haven’t read the script, so I find myself wondering if Shakespeare originally wrote those jokes in, or if they were invented over the years to enhance the character. I’ll find out in my own time. But you, dear reader, should go listen for yourself—it’s a French delicacy.

The central story, as we already broke down, is about Sir John Falstaff and his desire to court two married women. This is by far the most amusing part of the play. Falstaff’s braggadocious and cocksure attitude, coupled with his unwavering belief that these women adore him for his portly belly, is hilarious. Even as the women trick and essentially punish him, Falstaff remains convinced they want him, and the three actors play their roles perfectly. Sexual innuendos and suggestive blocking bring big laughs. Dossey, Stoiber, and Piper showcase their full range of comedic talent in these roles, and I’m grateful for it.

Michele Dosey, in the lead role of Falstaff, held the audience and didn’t just tell a story, but drug us along with all of her perceived triumphs and earned pitfalls. Dosey skillfully navigated Falstaff’s complex transition from a formidable aggressor to a comic heel, creating a performance that was entertaining and perfectly pitiful in all the right ways.

Kim Stoiber conveyed a delightful sense of pleasure in torturing poor Falstaff, while also subtly expressing a sense of flattery at being desired by him. It was a masterful take on the character.

Marlene Piper, as always, had an archer’s precision in hitting the mark with her comedic timing. She delivered her lines with perfect tone and timing, ensuring maximum laughs every time.

In a production brimming with standout performances, a few actors truly shined, bringing their characters to life with remarkable skill and presence.

I already mentioned my favorite characters earlier that I carried over from the Tahoe performance. I was not let down, but my favorite performance of the night wasn’t one of my previous delights. In fact, she reminds me of the old adage given to actors cast as the tree: “There are no small parts, only small actors.” Well, Brenda Belaunzarán proves that adage true!

Brenda Belaunzarán, as Bardolph and John Rugby, was the true hidden gem of the show. Her impeccable comic timing had the audience laughing out loud, even with just her facial expressions. Belaunzarán brought a hilarious touch to every scene, perfectly capturing the begrudging attitude of a teenager stuck with irritating tasks. Her ability to break the fourth wall with flawless execution added an extra layer of humor and connection, making her performance a highlight of the evening. In a play full of brilliantly funny women and performances, she held her own—with barely any lines or stage time. I can’t wait to see what this actress does next.

Another personal favorite of mine, and a stalwart in a Shira Dubrovner play, is Juliana Olinka-Jones. Despite having little stage time and not many lines, she delivered a standout performance as Shallow, bringing the character of a 250-year-old (give or take) man to life with effortless ease. Her portrayal was both shamelessly entertaining and crucial to the plot’s progression. With a keen sense of timing and a perfect blend of humor and longing for the good ole days, Olinka-Jones skillfully encouraged the reluctant Slender, played by Abbs Stoiber, to pursue marriage, driving the narrative forward in every scene. Her performance made Shallow a memorable and entertaining force on stage. She used her cane as a prop better than most actors use their entire bodies.

Speaking of, Abbs Stoiber, as the hesitant Slender, provided the perfect counterbalance to Shallow’s exuberance. Stoiber’s portrayal captured the character’s almost terrified reluctance to court Anne Page, adding depth to the comedic moments shared with Olinka-Jones. The two were very fun to watch.

Another of my personal “Aha!” moments was when Gretchen Seibert walked out as Ford—the husband of Kim Stoiber’s Mrs. Ford, in case that wasn’t obvious—a man with major jealousy issues and a fear of being made a cuckold. Gretchen is one of the most talented actresses I have seen in the Mammoth scene. I have truly enjoyed every performance I’ve seen her in. She is hilarious, as this play showcases, but as was the case with her last performance The Minutes by Sierra Classic Theater, she can also bear the weight of layered emotions and dramatic depth. She brings that talent to this role, and it really helps build the rest of the story. The stakes feel higher than Falstaff’s, um, desires, thanks to Seibert’s ability to raise the bar—will Ford catch Falstaff in the act, or will the bulbous oaf escape? The high tension and energy in these scenes is exhausting and perfect.

I mentioned her earlier, and I must again: Allison Peeler is always the attention-grabber and scene-stealer. Even though those terms often have negative connotations, I use them with nothing but love and a plea from this reporter: never change. I don’t think she’s capable of hiding in a scene or blending into the background. Her portrayal of the French Doctor Caius and suitor of Anne Page is classic Peeler. Her ridiculous French accent, over-the-top desire to duel the Welsh priest (Gina Joy Van Hest), and courtship of Anne Page are ones for the books. Cranked to 11 as always, you’ll be speaking in a French accent yourself after seeing this play!

All the actors brought a mix of humor, wit, and depth to their roles, making this production a thoroughly enjoyable experience from start to finish.

I would be remiss if I didn’t mention Shira Dubrovner herself. Dubrovner consistently delivers whimsical plays that are well thought out, choreographed, blocked, costumed—you name it, she does it better than most. But I have to say, I think her greatest strength is something she’s only recently started doing more and more: acting. She is Lucy, Ethel, and Carol Burnett rolled into one. She hits every comedic beat, makes strong yet relatable choices for each line, and holds the scenes she’s in, pushing her performance to the limit without overacting—milking every moment like a pro. It’s impossible not to smile when Dubrovner is on stage.

There are so many great performances in this ensemble cast, it’s difficult to mention them all. Rounding out the cast were, Finn Calhoun, Lucy Martyr, Caelen McQuilkin, Lina Martensson, Edyn Neale, Gail Swain, Gina Joy Van Hest, Jameisha Washington (with the best wig in the play) and stage manager for both shows, Lela Hanson.

I’m sure you’ll have your own favorites. These were just a few of mine, jotted down as I tried to keep myself from laughing too hard.

Well done to the entire cast and crew of The Merry Wives of Windsor. Another hit for Mammoth Rep and a perfect comedic companion to The Winter’s Tale, the other half of this year’s Shakespeare Festival. We are blessed to have these companies in our mountain town, with so many talents on display. Bravo to all the participants in this year’s Shakespeare Festival. I can’t wait to see what performances are next for these wonderful mountain folk.

For more information, dates, and times for the remaining performances, go to mammothshakes.com.

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For our review of The Winter’s Tale, click here.

Jesse Steele

TIP JAR

Jesse is a media content creator and film maker from the Eastern Sierra.