Henry IV Parts 1 & 2 Program

Total Page:16

File Type:pdf, Size:1020Kb

Henry IV Parts 1 & 2 Program March 27 – 28 & April 2 – 3, 2021 Henry IV, Parts 1 & 2 are made possible by generous support from Boyce Cabaniss & Tom Welch Helen & Larry Foster Artistic Director Managing Director Ann Ciccolella Alex B. Alford presents a staged reading of William Shakespeare’s Henry IV, Parts 1 & 2 Part 1 directed by Ann Ciccolella Part 2 directed by Paul Parente Production Staff Virtual Background Designer & Editor…………………………………………..Lowell B. Bartholomee Fight Choreography………………………………………………………..……………….……Toby Minor Stage Manager………………………………..….……………………………………………Kami Cooper Music Consultant………………………………………………………………………..…..Bennie Braswell Live-streamed performance Henry IV, Part 1, March 27, 2021 at 7 pm Live-streamed performance Henry IV, Part 2, March 28, 2021 at 5 pm Recorded performance Henry IV, Part 1, April 2, 2021 at 7 pm Recorded performance Henry IV, Part 2, April 3, 2021 at 7 pm Zoom Online This project is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department and by a grant from the Texas Commission on the Arts and an award from The National Endowment for the Arts. FIND US AT Facebook.com/austinshakespeare Instagram.com/austinshakespearecompany Twitter.com = @austinshakes YouTube.com/austinshakespeare CAST Bennie Braswell……..………..Chamberlain, Messenger, Traveler, Earl of Warwick, Page, 1st Drawer, Gower, Servant, Hastings Corinna Browning..………………..…..Lady Percy, Gladshill, Duke of Clarence, Davy, Doll Tearsheet Max Green……………………..……John of Lancaster, Ned Poins, Owen Glendower, Lord Mowbray Tom Green………….…………..……….………………….King Henry the Fourth, Ralph Mouldy, Coleville Sam Grimes…………..……….……………………….…Earl of Douglas, Bardolph, Sheriff, Lord Bardolph Michelle Jackson……..…..…Lady Mortimer, Mistress Quickly, Robert Shallow,Lady Northumberland Matthew Jordan………..…….……………………Hotspur, 1st Traveler, Snare, Simon Shadow, Harcourt Ev Lunning………………………….……………….…………………………Falstaff, Earl of Northumberland Michael Miller…………………..……...………….…………..……Earl of Worcester, Blunt, Rumour, Justice Justin Scalise…………………………….……….……………………………………Prince Hal, Francis Feeble Matthew Wagner…………………………..………Peto, Vernon, Mortimer, Silence, Earl of Surrey, Fang Chuck Winkler…………………………………Earl of Westmoreland, Servant, Carrier, 2nd Drawer, Pistol Scene: England & Wales, early 15th century There will be one brief intermission STAFF Artistic Director……………………………………………….………..…….………………………….Ann Ciccolella Managing Director………………………………………….…….……..………………………………Alex B. Alford Assistant to the Managing Director…………………….………...……..………………………Laura A. Walberg Graphic Designer………………………………………….…………..………..…………………..………Rona Ebert Public Relations…………………………………….………….Sherri Cline, Amy Layton of Motley Crew Media BOARD President………………………………………………………….……………..………………...Leslie Price Martinich Vice President………………………………………………………………….………..…….…………….Marc Pouhé Secretary……………………………………….………………………………………………,……………..Paul Parrish Treasurer………………………………..………………………………………….…………………….Karen Ashworth Director……………………………………….………………………………………………….……………Sue Breland Director……………………………………………..………………………………………….………….Helen C. Foster Director…………………………………………………...……...…………………………….……….Kathleen Higgins Director……………………………………………………………………………………….………………Eileen Lundy Director……………………………………………………………………………………….………….Marion Sanchez Director…………………………………………………………………………...………….……Shanée Woodbridge Win a Trip for 2 to your choice of Hawaii, Alaska or Costa Rica Roundtrip Airfare for 2 + 5 Nights Hotel $25 for 1 ticket; $100 for 5 tickets Drawing December 31, 2021 https://www.austinshakespeare.org/merchandise/2021-raffle WANT TO LOOK FRESH FOR THE SPRING? FREE YOUR CREATIVITY WITH THE ARTIST’S WAY CLASSES CONSIDER AN AUSTIN SHAKESPEARE T-SHIRT You’ll look terrific in our classic “All Austin’s a Stage” t-shirt Sizes S, M, L, XL, XXL and XXXL. Purchase at austinshakespeare.org/merchandise or call (512) 470-4505 Join Artistic Director Ann Ciccolella for weekly Artist's Way classes. Based on the book by Julia Cameron, Artist's Way classes are designed to help free your creativity. Join novelists, playwrights, poets, visual artists, musicians and actors in these lively sessions on Wednesdays, noon - 1 pm online. For more information contact [email protected] NOW in Men’s & Women’s Sizes Or call (512) 470-4505 .
Recommended publications
  • A Dull Soldier and a Keen Guest: Stumbling Through the Falstaffiad One Drink at a Time
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2017 A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time Emma Givens Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Dramatic Literature, Criticism and Theory Commons, and the Theatre History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4826 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Emma Givens 2017 All rights reserved A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Emma Pedersen Givens Director: Noreen C. Barnes, Ph.D. Director of Graduate Studies Department of Theatre Virginia Commonwealth University Richmond, Virginia March, 2017 ii Acknowledgement Theatre is a collaborative art, and so, apparently, is thesis writing. First and foremost, I would like to thank my grandmother, Carol Pedersen, or as I like to call her, the world’s greatest research assistant. Without her vast knowledge of everything Shakespeare, I would have floundered much longer. Thank you to my mother and grad-school classmate, Boomie Pedersen, for her unending support, my friend, Casey Polczynski, for being a great cheerleader, my roommate, Amanda Long for not saying anything about all the books littered about our house and my partner in theatre for listening to me talk nonstop about Shakespeare over fishboards.
    [Show full text]
  • Henry Iv, Parts One &
    HENRY IV, PARTS ONE & TWO by William Shakespeare Taken together, Shakespeare's major history plays cover the 30-year War of the Roses, a struggle between two great families, descended from King Edward III, for the throne of England. The division begins in “Richard II,” when that king, of the House of York, is deposed by Henry Bolingbroke of the House of Lancaster, who will become Henry IV. The two Henry IV plays take us through this king's reign, ending with the coronation of his ne'er-do-well son, Prince Hal, as Henry V. In subsequent plays, we follow the fortunes of these two families as first one, then the other, assumes the throne, culminating in “Richard III,” which ends with the victory of Henry VII, who ends the War of the Roses by combining both royal lines into the House of Tudor and ruthlessly killing off all claimants to the throne. What gives the Henry IV plays their great appeal is the presence of a fat, rascally knight named Falstaff, with whom Prince Hal spends his youth. Falstaff is one of Shakespeare's most memorable characters and his comedy tends to dominate the action. He was so popular with audiences that Shakespeare had to kill him off in “Henry V,” lest he detract from the heroism of young King Henry V. “Henry IV, Part One,” deals with a rebellion against King Henry by his former allies. The subplot concerns the idle life led by the heir to the throne, Prince Hal, who spends his time with London's riffraff, even going so far as to join them in robbery.
    [Show full text]
  • Masaryk University Faculty of Education
    Masaryk University Faculty of Education Department of English Language and Literature We, Band of Brothers in Arms Friendship and Violence in Henry V by William Shakespeare Bachelor thesis Brno 2016 Supervisor: Author: Mgr. Jaroslav Izavčuk Vladimír Ovčáček Prohlašuji, že jsem bakalářskou práci na téma ‘We, Band of Brothers in Arms - Friendship and Violence in Henry V by William Shakespeare’ vypracoval samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů. Souhlasím, aby práce byla uložena na Masarykově univerzitě v Brně v knihovně Pedagogické fakulty a zpřístupněna ke studijním účelům. V Brně dne………………………….. Podpis………………………………. - 1 - I would like to express my gratitude to my parents and friends, without whose support I would never have a chance to reach this important point of my life. I would also like to thank Mgr. Jaroslav Izavčuk for his kind support, helpful advice, and patience. - 2 - Anotace Tato bakalářská práce analyzuje hru Jindřich V. od Wiliama Shakespeara, a to z hlediska násilí a přátelství, jakožto témat často se objevujících v této hře. Bakalářská práce je tvořena teoretickou a praktickou částí. V teoretické části je popsán děj hry a jsou zde také určeny cíle této práce. Dále jsou zde charakterizovány termíny násilí a přátelství a popsán způsob jakým bylo v renesančním dramatu vnímáno násilí. Dále jsem zde vytvořil hypotézu a definoval metody výzkumu. Na konci teoretické části je stručný popis historického kontextu, do kterého je tato hra včleněna.
    [Show full text]
  • King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
    2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice
    [Show full text]
  • Program from the Production
    STC Board of Trustees Board of Trustees Stephen A. Hopkins Emeritus Trustees Michael R. Klein, Chair Lawrence A. Hough R. Robert Linowes*, Robert E. Falb, Vice Chair W. Mike House Founding Chairman John Hill, Treasurer Jerry J. Jasinowski James B. Adler Pauline Schneider, Secretary Norman D. Jemal Heidi L. Berry* Michael Kahn, Artistic Director Scott Kaufmann David A. Brody* Kevin Kolevar Melvin S. Cohen* Trustees Abbe D. Lowell Ralph P. Davidson Nicholas W. Allard Bernard F. McKay James F. Fitzpatrick Ashley M. Allen Eleanor Merrill Dr. Sidney Harman* Stephen E. Allis Melissa A. Moss Lady Manning Anita M. Antenucci Robert S. Osborne Kathleen Matthews Jeffrey D. Bauman Stephen M. Ryan William F. McSweeny Afsaneh Beschloss K. Stuart Shea V. Sue Molina William C. Bodie George P. Stamas Walter Pincus Landon Butler Lady Westmacott Eden Rafshoon Dr. Paul Carter Rob Wilder Emily Malino Scheuer* Chelsea Clinton Suzanne S. Youngkin Lady Sheinwald Dr. Mark Epstein Mrs. Louis Sullivan Andrew C. Florance Ex-Officio Daniel W. Toohey Dr. Natwar Gandhi Chris Jennings, Sarah Valente Miles Gilburne Managing Director Lady Wright Barbara Harman John R. Hauge * Deceased 3 Dear Friend, Table of Contents I am often asked to choose my favorite Shakespeare play, and Henry IV, Parts 1 and 2 Title Page 5 it is very easy for me to answer immediately Henry IV, Parts 1 The Play of History and 2. In my opinion, there is by Drew Lichtenberg 6 no other play in the English Synopsis: Henry IV, Part 1 9 language which so completely captures the complexity and Synopsis: Henry IV, Part 2 10 diversity of an entire world.
    [Show full text]
  • UNPACKING the MERRY WIVES Robert Brazil K
    UNPACKING THE MERRY WIVES Robert Brazil k HAKESPEARE’S play, The Merry Wives of Windsor, is filled with fascinating enig- mas. This comedy, set in the environs of Windsor Castle, weaves together a street level story of love, lust, greed, competition and humiliation with a commentary on society that, while it spoke directly to the concerns of its contemporary late six- teenth-century audience, abounds with references that are extremely suggestive today to students and researchers of the Oxfordian theory. Because Merry Wives was first printed in 1602, most standard commentators on Shakespeare consider it to be a mid- career play, written while the author was at the height of his powers, roughly simultaneous with Hamlet. Yet everything about the play, including the sensibility, the crude style, and the too-old contemporary allusions, suggests that it was an earlier work, its topical references and concerns those of the 1580s, with some 1590s references added to a later revival, to become an interesting anachronistic revival by 1602. The central ideas and plot elements in Merry Wives involve the high stakes wooing of young Anne Page by three suitors, the farcical woo- ing of Mrs. Ford by three other suitors, the complex humiliations of Falstaff, Master Ford, Slender, Doctor Caius and others, and Master Ford’s fear that he will be cuckolded. As the play begins, Shallow, Slender and Hugh Evans are walking into the village in front of Page’s house. Shallow states that he won’t change his mind, he is going to make a Star Chamber affair out of Falstaff’s offense, introducing a subplot that has little apparent rele- vance to the main plot, but which is filled with accurate descriptions of county lawsuits and disputes and the archaic Latin-based bureaucracy associated with the process.
    [Show full text]
  • Merry Wives (Edited 2019)
    !1 The Marry Wives of Windsor ACT I SCENE I. Windsor. Before PAGE's house. BLOCK I Enter SHALLOW, SLENDER, and SIR HUGH EVANS SHALLOW Sir Hugh, persuade me not; I will make a Star-chamber matter of it: if he were twenty Sir John Falstaffs, he shall not abuse Robert Shallow, esquire. SIR HUGH EVANS If Sir John Falstaff have committed disparagements unto you, I am of the church, and will be glad to do my benevolence to make atonements and compremises between you. SHALLOW Ha! o' my life, if I were young again, the sword should end it. SIR HUGH EVANS It is petter that friends is the sword, and end it: and there is also another device in my prain, there is Anne Page, which is daughter to Master Thomas Page, which is pretty virginity. SLENDER Mistress Anne Page? She has brown hair, and speaks small like a woman. SIR HUGH EVANS It is that fery person for all the orld, and seven hundred pounds of moneys, is hers, when she is seventeen years old: it were a goot motion if we leave our pribbles and prabbles, and desire a marriage between Master Abraham and Mistress Anne Page. SLENDER Did her grandsire leave her seven hundred pound? SIR HUGH EVANS Ay, and her father is make her a petter penny. SHALLOW I know the young gentlewoman; she has good gifts. SIR HUGH EVANS Seven hundred pounds and possibilities is goot gifts. Enter PAGE SHALLOW Well, let us see honest Master Page. PAGE I am glad to see your worships well.
    [Show full text]
  • Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
    October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles ..
    [Show full text]
  • Old England, Nostalgia, and the "Warwickshire" of Shakespeare's Mind
    Connotations Vol. 7.2 (1997/98) Old England, Nostalgia, and the "Warwickshire" of Shakespeare's Mind MAURICE HUNT "He was wont to go to his native country once a year," the seventeenth- century biographer John Aubrey pronounced concerning the playwright Shakespeare's relationship with his native place, the Midlands town Stratford-upon-Avon.1 No one can gauge the accuracy of the gossipy Aubrey's anecdotes; but considered in light of the Elizabethan difficulty of negotiating the nearly one-hundred miles between Shakespeare's rural home and the largest city in Renaissance Europe, Aubrey's claim may very well be true. Russell Fraser has memorably taken us hand-in-hand with Shakespeare on an imaginative, late-sixteenth-century journey from the Stratford home over the muddy, sometimes flooded, highwayman- threatened roads that Shakespeare probably took to Newgate.2 This trip one-way took at least four days, even if the traveller normally walking occasionally hired horses between inns. But, as Fraser comments, "at three pence a mile this [probably] wasn't an option available to young Shakespeare."3 In any case, walking was how players travelled on their provincial tours. The joumeymost likely took Shakespeare initially east through Compton Wynyates to Banbury, past "stone farmhouses, grayish brown ... dark against the fields,,4-poor pelting villages-through Buckinghamshire and the hamlet of Grendon Underwood. John Aubrey, getting his Shakespeare plays wrong, proclaimed that "the humour of the constable in A Midsummer Night's Dream, he happened to take at Grendon in Bucks ... which is the road from London to Stratford, and there was living that constable about 1642, when I first came to Oxford: Mr.
    [Show full text]
  • Henry IV, Part 2, Continues the Story of Henry IV, Part I
    Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play Induction Scene 1 ACT 1 Scene 2 Scene 3 Scene 1 Scene 2 ACT 2 Scene 3 Scene 4 Scene 1 ACT 3 Scene 2 Scene 1 ACT 4 Scene 2 Scene 3 Scene 1 Scene 2 ACT 5 Scene 3 Scene 4 Scene 5 Epilogue From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them.
    [Show full text]
  • 1989 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University
    Illinois State University ISU ReD: Research and eData Illinois Shakespeare Festival Fine Arts Summer 1989 1989 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/isf Part of the Theatre and Performance Studies Commons Recommended Citation School of Theatre and Dance, "1989 Illinois Shakespeare Festival Program" (1989). Illinois Shakespeare Festival. 8. https://ir.library.illinoisstate.edu/isf/8 This Book is brought to you for free and open access by the Fine Arts at ISU ReD: Research and eData. It has been accepted for inclusion in Illinois Shakespeare Festival by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. The 1989 Illinois Shakespeare I Illinois State University Illinois Shakespeare Festival Dear friends and patrons, Welcome to the twelfth annual Illinois Shakespeare Festival. In honor of his great contributions to the Festival, we dedicate this season to the memory of Douglas Harris, our friend, colleague and teacher. Douglas died in a plane crash in the fall of 1988 after having directed an immensely successful production of Richard III last summer. His contributions and inspiration will be missed by many of us, staff and audience alike. We look forward to the opportunity to share this season's wonderful plays, including our first non-Shakespeare play. For 1989 and 1990 we intend to experiment with performing classical Illinois State University plays in addition to Shakespeare that are suited to our acting company and to our theatre space. Office of the President We are excited about the experiment and will STATE OF ILLINOIS look forward to your responses.
    [Show full text]
  • The Merry Wives of Windsor ABRIDGED
    1 The Merry Wives of Windsor ABRIDGED William Shakespeare Written by William Shakespeare Edited by Jane Tanner 2 3 William Shakespeare’s The Merry Wives of Windsor Edited by Jane Tanner The Wichita Shakespeare Co. 4 THE MERRY WIVES OF WINDSOR Dramatis Personae SIR JOHN FALSTAFF. PISTOL Follower of Falstaff. NYM, Follower of Falstaff. ROBIN, Page to Falstaff. MASTER FORD, Gentlemen dwelling at Windsor. MISTRESS FORD, His wife. MASTER PAGE, Gentlemen dwelling at Windsor. MISTRESS PAGE, His wife. MISTRESS ANNE PAGE, Their daughter. FENTON, a young Gentleman. SHALLOW, a Country Justice. SLENDER, Cousin to Shallow. SIMPLE, Servant to Slender. SIR HUGH EVANS, a Welsh Parson. DOCTOR CAIUS, a French Physician. MISTRESS QUICKLY, Servant to Doctor Caius. JOHN RUGBY, Servant to Doctor Caius. HOST of the Garter Inn. 5 THE MERRY WIVES OF WINDSOR List of scenes ACT I Page Scene 1 Windsor. Before PAGE's house. 7 Scene 3 A room in the Garter Inn. 12 Scene 4 A room in DOCTOR CAIUS' house. 15 ACT II Scene 1 Before PAGE'S house. 21 Scene 2 A room in the Garter Inn. 26 Scene 3 A field near Windsor. 34 ACT III Scene 1 A field near Frogmore. 37 Scene 2 A street. 40 Scene 3 A room in FORD'S house. 43 Scene 4 A room in PAGE'S house. 50 Scene 5 A room in the Garter Inn. 54 ACT IV Scene 2 A room in FORD'S house. 59 Scene 4 A room in FORD'S house. 66 Scene 5 A room in the Garter Inn. 68 Scene 6 Another room in the Garter Inn.
    [Show full text]