There is a tradition in Shakespeare lore that Elizabeth I, upon seeing a performance of Henry IV, Part I, so enjoyed the comical John Falstaff that she requested another play be written in which Sir John would fall in love. But a request from the queen means Kindly have it done in fourteen days. This may or may not be true, but it would explain the thin plot of The Merry Wives of Windsor in which the bumptious Falstaff does indeed fall in love with the money of the husbands of the Merry Wives.

Sometimes you just have to let a thing be what it is. The Merry Wives is, at best, a rom-com in which the greedy would-be swain is humiliated, goes in for a second try, is humiliated worse, is found out, and eventually repents. There are plenty of laughs along the way with the requisite feel-good comeuppance.

In that regard, Folgers production (the last at this location while a two-year renovation gets underway) satisfies what you come for. A tip-top cast does their job with sparkling timing and well-placed buffoonery. Where things get a little far out is in the concept.

Director Aaron Posner has an earnest and well-intentioned theory behind setting Merry Wives in 1972. Something about the Womens Lib movement, the social energy of the times, the general zeitgeist, I suppose. He even imagines that the play tells a little uncomfortable truth in its exposure of mortals flagrant flaws. I must have missed that part in my puzzlement over Tony Ciseks 1959-era House Beautiful inspired set (loved the Mondrian color-changing windows, whatever the point), the late 60s slogans, and the mish-mash of costumes and styles ranging from early 60s to mid 70s. And while its true that in 1972 many folks were still too stoned to know what year it was, a bit more clarity in setting and purpose would have been welcome here.

Nevertheless, we would still have the fabulous Brian Mani making a rollicking, lusty Falstaff with or without the psychedelic tie-dye shirt encompassing his enormous belly - a feature that is almost a character in its own right, so prominently does it figure. Sir John dreams big, and his armor-plated ego persuades him that he can court two married women with the same love letter, thus winning their affections and access to their husbands funds.

Mistress Ford (Ami Brabson) and Mistress Page (Regina Aquino) play him for the big fish he is with complications authored by the suspicious husband, Ford (in a splendid performance by understudy Ryan Sellers). Fearing cuckolding more than death, poor Mr. Ford disguises himself as Brook, a hopeless suitor of the virtuous Mrs. Ford and pays Falstaff to try to seduce her in order to find out if she can, in fact, be led astray.

Meanwhile, three hopeful swains vie for the hand of their lovely daughter, Anne Page (Linda Bard). The aptly named Abraham Slender (Brian Reisman) woos in an outfit that, even by Sixties standards, should be burned. The sympathetic Fenton (Dante Robert Rossi, who also plays Nym) seems a likelier choice, but still has to contend with the fieriest, funniest Frenchman, he of the hot blood and ready sword, Dr. Caius. Cody Nickell is a treasure in this role and makes all that time and place confusion irrelevant, so wickedly funny is his every appearance.

As an assistant to Dr. Caius, Mistress Quickly (played by the inimitable Kate Eastwood Norris) is one perfectly groomed nurse right out of a 1964 yearbook, topped off with an every-hair-in-place blonde flip. Shes also warm, and droll, and burdened with other peoples messages which put her in the line of fire. Sir Hugh Evans (Todd Scofield) unwisely asks her to support Slenders love suit, a proposition which presages an invitation to duel from the choleric Dr. Caius. Be not alarmed. This is a comedy, so no one dies.

There are a few moments when servants or messengers run in and out with urgent news and cant seem to resist acting out Every. Single. Word. complete with hand gestures and full body exclamations. Its not necessary. We get the gist.

Never let it be said that Mr. Posner didnt want his cast to have fun. The energy crackles, and references to songs of the time were like raindrops falling on my head. The most shameless of all these side doors from the script is delivered by Ford (as Mr. Brook) wearing his very best Rolling Stones shirt and complaining that he cant get no satisfaction. I blush to report it.

Trying to relate this two hours of whimsy to an era best remembered for demonstrations, civil rights marches, sit-ins, paisley bell-bottoms and horrified parents is iffy at best; the comic potential is realized, but the connection is a strain.

Maggie Lawrence is a member of the American Theatre Critics Association. She is a retired English and drama teacher.

WANT TO GO?

What: The Merry Wives of Windsor By Wm. Shakespeare

Where: Folger Shakespeare Library, 201 E. Capitol St. SE, Washington, D. C.

Call: (202) 544-7077 or visitwww.folger.edu/theatre

Playing through March 1

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