REVIEW: Merry Wives (Shakespeare Theatre Company)
The 2025-26 season keeps up its opening sprint. Show #2 of my week of openings is here as STC opens their season with the DC premiere of Merry Wives. But hold the “of Windsor”, as Jocelyn Bioh (Jaja’s African Hair Braiding) adapts Shakespeare’s comedy to a West African community in modern-day Harlem.
Book
Shakespeare’s Merry Wives of Windsor is one of his lesser-regarded comedies, but Bioh’s penchant for comedy makes this a stomping ground of high potential. The names are carried over — Page, Ford, even Falstaff — as is the plot. The latter, an oaf seen frequently recurring in Bard works, intends to woo two married women as part of a get-rich-quick scheme. Despite the “brilliance” of this plan, it doesn’t take long for all involved in the close-knit community to see through it, and subsequently form a competing ploy against him. This is where Bioh’s comedic talent shines, effortlessly weaving African in-jokes and mannerisms into a largely-preserved Shakespearean prose as we watch Falstaff’s continued efforts fall flat on their face and background relationships bloom. Bioh doesn’t try to reinvent the wheel, and some critics may argue that’s a shortcoming of the piece, but her charismatic writing means she doesn’t need to. In many ways, it’s reminiscent of Jaja’s in the world of Shakespeare. But is that really a bad thing? 9/10
Acting
Jacob Ming-Trent is sensational as the buffoon of Falstaff. His hysterics and madcap plot is acted with deft comedic ability and wit, and expertly walks the tightrope of slapsticky annoyance and smart defiance. Despite some shaky accent work, the ensemble is wholly a joy too, with a healthy mix of New York and local talent in primary roles. Oneika Phillips and Felicia Curry are delightfully hilarious in their schemes as the titular Wives (Page and Ford, respectfully), and provide a snappy physicality that makes their interactions all the funnier. This applies to the remaining cast just as well, such as a jubilant Dr. Caius (Jordan Barbour), a hysterical Mr. Ford (Nick Rashad Burroughs), and the charming everyman-ness of Mr. Page (JaBen Early). 9/10
Production
There’s lots to take in with Taylor Reynolds’ loose staging. Things are colorful: Ivania Stack’s costumes pop out at you with new and inventive patterns, and Nikiya Mathis (who else?!) stuns with hairstyling. Jeanette Yew’s lighting matches the assignment, and it’s fun to watch how the windows of the buildings light up with intertitle songs. Lawrence E. Moten III sets are mobile and satisfying, too. The most intrigue occurs when scenes move around, such as a kitschy laundromat serving as a popular staging platform. 8/10
Viz
The use of scale in the set is instantly apparent. The buildings and storefronts of Harlem tower above the stage, to degrees unseen, perhaps infinitely. But at the same time, it keeps the action grounded, as the viewer becomes keenly aware that everything can only play out on what’s open in front of them. With this comes an overhead speaker of Afrobeats and a hazy blue overcast, as if someone is playing it from their speaker as you walk past a window on a Saturday night. The key art features Phillips and Curry cheekily gossiping with a vibrant palette. The silly, colorful demeanor of Africana found in the show is visible immediately. 10/10
Verdict
Merry Wives is a genius West African spin on a underwritten Bard comedy, combining quick-witted comedy and Elizabethan storytelling to pull off an excellent two-hours of mayhem. 36/40
