Merry Wives

When Community Meets Comedy

Jacob Ming-Trent in Merry Wives at Shakespeare Theatre Company. Photo by Teresa Castracane Photography.

Last Friday, I witnessed something magical happen in a theater. An entire audience jumped to their feet in spontaneous, thunderous applause. Not the polite, obligatory standing ovation that often closes shows, but the real thing: pure, uncontainable joy erupting from people who had just experienced something extraordinary.

That something was Shakespeare Theatre Company’s brilliant production of Merry Wives.

Jocelyn Bioh’s adaptation of Shakespeare’s The Merry Wives of Windsor sets this domestic comedy in modern day Harlem, centered around the neighborhood laundromat. Suddenly, Shakespeare’s 400-year-old tale of clever wives, bumbling suitors, and one roguish Falstaff feels fresh and immediate.

Jacob Ming-Trent, Felicia Curry, and Oneika Phillips The cast of Merry Wives.

Photos by Teresa Castracane Photography

The laundromat becomes the beating heart of community life where everyone knows everyone else’s business, schemes are hatched over folding clothes, and the famous laundry basket scenes take on brilliant new meaning. This is the kind of creative adaptation that makes us think, “Of course! Most every Shakespeare play has a duel – this play is no exception. However, the weapons are a golf club and a baseball bat! What a great place for drama to ‘unfold’!”

This production soars in how perfectly Shakespeare’s celebration of community wisdom translates to Harlem. The Merry Wives – played by Oneika Phillips as Madam Page and Felicia Curry as Madam Ford – are not simple individual characters pulling pranks. They are part of a vibrant neighborhood that looks out for each other, celebrates together, and collectively deals with troublemakers like Falstaff. They provide the wisdom and cunning for the others.

From L- R : (all PC: Teresa Castracane Photography: Felicia Curry, Jordan Barbour, Nick Rashad Burroughs, Sekou Laidlow, and JaBen Early; Felicia Curry, Jacob Ming-Trent, and Oneika Phillips; Jacob Ming-Trent and Kelli Blackwell

Ah, Falstaff! He is a pivotal character in four of Shakespeare’s plays – Henry IV Parts 1 and 2, Henry V, and The Merry Wives of Windsor. The role is a theatrical tightrope walk – he must be funny enough to carry comedy, charming enough to appreciate his schemes, and ridiculous enough to root for the wives to outwit him. When Falstaff works, everything works, and in this production, he works. In the Harlem laundromat setting, he becomes the beloved neighborhood character that everyone knows and tolerates despite his nonsense – probably holding court, spinning tales, completely convinced that he is irresistible to these smart women who are already three steps ahead of him. The knowing eye-rolls and exasperated gestures reveal their collective tolerance. They see through his schemes while enjoying the entertainment that he provides.

The physical comedy works brilliantly in the setting. When the audience delights in Falstaff’s schemes throughout the evening, his final downfall creates the perfect comic climax sending everyone to their feet cheering. The result is comedy that feels both timeless and completely of-the-moment. Shakespeare’s brilliant character dynamics unfold, as a love letter to community strength, female friendship, and the kind of neighborhood solidarity that makes cities feel like home. One audience member shared that she found the natural energy, wisdom, and strength of the “wives” enveloping.

Oneika Phillips and Felicia Curry (All Photos by Teresa Castracane Photography) The cast of Merry Wives

Streaming services or movies cannot produce the electric moments when an entire audience realizes they are experiencing something special together. When Oneika Phillips delivers a particularly brilliant line, when the ensemble moves in perfect comic synchronization, when the costumes and music and performances align to create theatrical dexterity. This is a joint experience of the audience. The costume design tells its own story – the rich colors and fabrics suggest social hierarchy within this Harlem community, while those amazing shoes worn by both Madams Page and Quickly signal their status and confidence. Every visual choice reinforces character relationships.

The shared experience, the collective intake of breath, and bursts of laughter, make live theater irreplaceable. Last Friday’s standing ovation went beyond appreciation for a good performance. It was a roomful of people celebrating the joy of being surprised, delighted, and moved together in one space at one moment in time.

This production does what great theaters do – taking the familiar and showing aspects never before noticed. Shakespeare’s genius for human psychology emerges through how naturally his insights translate across centuries and cultures. Communities have always been strengthened by clever women who refuse to let pretentious men get away with nonsense. The affected speech patterns – characters moving between Shakespeare’s elevated language and natural vernacular – create layers of authenticity that honor both the original text and the Harlem setting.

The laughter is infectious – not polite chuckles of recognizing a clever line, but the deep, surprising laughter that comes when brilliant performers make centuries-old words feel like they were written yesterday for people you could meet on any neighborhood corner – the genius of Shakespeare.

The romantic subplots raise intriguing questions about love versus social maneuvering. Are these genuine affections or strategic alliances? The production suggests that in tight-knit communities, the line between the two often blurs.

Shakespeare Theatre Company has created a production that honors the original text while making it accessible and relevant to the 21st Century audiences. The performance sparkles, the design choices are inspired, and the production feels like a celebration.

Go see this show. Go for the love of Shakespeare or for the fear of Shakespeare. Go because of the curiosity of Harlem’s cultural richness or simply for the desire to discover it. The experience is worth the effort. Some experiences only happen when we are all in the same room, witnessing brilliance together. Go enjoy the creative sets and gorgeous costumes – and of course, the acting.

The Details

Merry Wives is currently running at Shakespeare Theatre Company. Check their website for tickets and showtimes. Do not wait too long. This production closes on October 5. Tickets sell out quickly.

A Room in the Castle – Ophelia’s Story

Lauren Gunderson’s brilliant re-imagining of Shakespeare’s “Hamlet” shifts the spotlight from the brooding prince to the women who orbit his world. In A Room in the Castle, Gunderson accomplishes in 85 minutes what Shakespeare took four hours to convey, creating an intimate portrait focused on Ophelia, her handmaid, Anna, and Queen Gertrude. Kaja Dunn’s elegant directing delivers a thought-provoking production. Gunderson was commissioned to write the play by the Cincinnati Shakespeare Company where it opened before it’s World Premiere on March 9, 2025 at the Folger Theater.

A Room in the Castle Dress Rehearsal 85:Sabrina Lynne Sawyer, Oneika Phillips, and Burgess Byrd in Folger Theatre’s world premiereof A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborski

With only illusions to the narcissistic, gaslighting Hamlet of the original text, he is never seen. Not even the skull. Instead, we witness the story through the female perspective, exploring Ophelia as a motherless young woman navigating complex relationships and expectations. The production examines her circumstances: torn between her perceived love for Hamlet, her father and brother’s disapproval of him, Anna’s protective caution, and Queen Gertrude’s insistence on their marriage. Perhaps, it is “ . . .not to be.”

The all-female cast of three, delivers superb performances. Ophelia ( Sabrina Lynne Sawyer) emerges as a fully realized character – sometimes ambivalent, occasionally petulant, but ultimately autonomous. She is transformed from Shakespeare’s tragic figure into someone relatable in the 21st Century. Gertrude (Oneika Philips) commands the stage with regal confidence and impeccable dresses. Anna (Burgess Byrd) brings love and devotion to her role, having lost her own son and finding in Ophelia someone to mother and protect. Costume designer, Nicole Jescinth Smith’s costumes were visually stunning and spoke volumes about status and intent.

A Room in the Castle Dress Rehearsal 68: Oneika Phillips, Sabrina Lynne Sawyer, and Burgess Byrd in Folger Theatre’s world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborski

As we entered the Theater, I asked my guest and daughter, Tiffany, about her expectations of the play and to tell me her take on the original characters. Her immediate reply was that, “Hamlet was a madman, gaslighting Ophelia to her demise.”  I shared that I found, “Both whiny and that she was needy and ‘a few cards short of a full deck.” Tiffany expected see a play about strength and perseverance over narcissistic dysfunction.  I hoped that she was right and that after 425 years of waiting, Ophelia would find her voice.

The audience was greeted by the newly appointed director of the Folger Shakespeare Library, Dr. Farah Karim-Cooper, “I spent the last Twenty years of my life at Shakespeare’s Globe Theater in London. Over there, I was the resident scholar and director of education and research and it’s also where visceral performance informed all of my work, so I know something about theater.  This is why I can say that I’m so inspired by the compelling and inclusive vision that’s emerging from the culture of this theater and our artistic leader Karen Ann Daniels.”  

The intimate theater space enhances the experience, with its warm wood paneling, carved columns, and half-timbered walls – reminiscent of an Elizabethan setting. The set strikes an interesting juxtaposition between the now and then. When does this play take place? That really doesn’t matter.

A Room in the Castle Dress Rehearsal 93: Sabrina Lynne Sawyer, Oneika Phillips, and Burgess Byrd in Folger Theatre’s world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborsk

What makes this production special is that it honors Shakespeare’s world while boldly asking, “why not?” As Gunderson herself stated, “The play dances and duels with Shakespeare’s Hamlet, foregrounding the women in the play and re-imagining them with agency, vitality, and radical hearts eager for a new ending,… ripping a hole in the fabric of their suffocating story… because this play is anything but hopeless and tragic.”

There were frequent laughs and knowing sighs of recognition from the audience. While I won’t reveal the ending, I can say that it offers a satisfying conclusion to Ophelia’s journey. “A Room in the Castle” proves that sometimes the most interesting stories are found not with the titular character, but in the castle’s side chambers where the women speak their truths. “Obey, Agree, Assist?” How about “Rebel, Reject, Resist.”

A Room in the Castle Dress Rehearsal 91:Sabrina Lynne Sawyer, Burgess Byrd, and Oneika Phillips in Folger Theatre’s world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborski
A Room in the Castle Dress Rehearsal 87:Sabrina Lynne Sawyer, Burgess Byrd, and Oneika Phillips in Folger Theatre’s world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborski

Perhaps the most enduring power of Shakespeare lies not in the answers his works provide but in how each generation finds its own questions within them. Through my daughter’s unflinching modern lens, I watched not another classic Hamlet, but a study in how Ophelia finally gets the chance to exist beyond being defined by the men around her.

A Room in the Castle Dress Rehearsal 93: Sabrina Lynne Sawyer, Oneika Phillips, and Burgess Byrd in Folger Theatre’s world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn, co-produced with Cincinnati Shakespeare Company, on stage at the Folger Shakespeare Library, March4-April 6, 2025. Photo by Erika Nizborski

The cast, production team, and Folger staff greeted guests in the Great Hall for an elegant and enjoyable reception. Keeping with the woman theme, DJ, Miss H.E.R., provided invigorating music at the perfect volume for conversation. The reception gave us an opportunity to express our gratitude for the many levels of remarkable talent and work and to share snippets of insight and surprises.  Meeting Dr. Karim-Cooper and Lauren Gunderson was an unexpected pleasure. Their generosity of spirit and depth of intellect and dedication to the Folger was inspiring.

The depth of intellect, knowledge, and commitment to both the production and the Folger Library Theater could have been overwhelming had not everyone been incredibly hospitable, responsive, and gracious.

Playwright Lauren Gunderson shares her creative process PC: Henkel

Meeting the cast, Sabrina Lynne Sawyer – Ophelia, and Oneika Philips – Gertrude gave additional focus to the characters. Sabrina is entirely invested in Ophelia. She wanted Ophelia to be liked and appreciated. When I shared my original opinion and how her representation changed my mind, she gave me a genuine hug and thanked me for being flexible and seeing the other side. Oneika, dressed in another stunning gown, this time in scarlet, carried herself as the regal queen that she portrayed. She was born to be the Queen. She complimented costumer, Nicole Jescinth Smith’s vision and impeccable attention to detail. Burgess Byrd and I managed to always be on opposite sides of the Hall – my compliments to her for bringing palpable warmth and love through her talent.

Top: Kaja Dunn, Lauren Gunderson, Nicole Jescinth Smith, Oneika Philips, Burgess Byrd Right: Lauren and Nicole Bottom Left: DJ MissH.E.R. Bottom Center: the Great Halls Bottom Right: Sabrina Lynn Sawyer and Tiffany Henkel PC: Henkel

I want to thank The Folger Press Secretary, Colleen Kennedy, for her generosity for allowing me to participate in this momentous event.  I hope that this Blog will pique your interest to see this play. You will be glad that you did.

This delightful production plays until April 6 at the beautiful Folger Theater in Washington, DC. Tickets are limited. Don’t miss this chance to watch this modern production and see Ophelia in a new light. Click here for tickets

Colleen Kennedy, Right, with Krasi Henkel PC: Henkel