How were 'Mistress Ford' and 'Mistress Page' collectively known in the title of a Shakespeare play?
"fraudulent proposal of marriage to her (implying that she is now a widow). Mistress Quickly has a friendship of long standing with Doll Tearsheet, a prostitute who frequents the tavern, and protects her against aggressive men she calls ""swaggerers"". At the end of that play, Mistress Quickly and Doll Tearsheet are arrested in connection with the beating to death of a man by Ancient Pistol. In ""The Merry Wives of Windsor"" she works as nurse to Caius, a French physician, but primarily acts as a messenger between other characters, communicating love notes in a plot largely concerned with misdirected letters."
"works and the classics. Her stage debut was in Shakespeare, but she seldom acted in his works later in her career; exceptions were her Queen Gertrude in ""Hamlet"" in 1931 and her Meg Page in ""The Merry Wives of Windsor"", opposite her sister Violet as Alice Ford, in 1937. Vanbrugh appeared frequently in fundraising shows for various charities. She was active over many years in the support of the Royal Academy of Dramatic Art in London, of which her brother was principal. After her death the Academy's new theatre was named The Vanbrugh Theatre in honour of her and her"
"Mistress Page even invites Falstaff to come with them: ""let us every one go home, and laugh this sport o'er by a country fire; Sir John and all"". Some elements of ""The Merry Wives of Windsor"" may have been adapted from ""Il Pecorone"", a collection of stories by Ser Giovanni Fiorentino; one of these stories was included in William Painter's ""The Palace of Pleasure"". The play's date of composition is unknown; it was registered for publication in 1602, but was probably several years old by that date. In the Fairy pageant in Act 5 Scene 5 (lines 54-75), Mistress Quickly,"
"for her appearances in ""The Merry Wives of Windsor"", in which at various stages in her career she played the juvenile lead, Ann Page, and then both of the merry wives in different productions. Other Shakespeare roles were Titania in ""A Midsummer Night's Dream"" (1900), Beatrice in ""Much Ado About Nothing"" (1905), and Mistress Quickly in ""Henry IV, Part 1"" (1935). Although ""fond of joking about her comparative importance as Mrs Tree and later as Lady Tree"", she was, according to ""The Manchester Guardian"" ""a witty woman, and by no means an unimportant actress."" She exercised discreet influence on Tree's"
"of ""Audrey"", ""The Fourth Estate"", ""The Little Brother of the Rich"", ""The Argyle Case"", and ""The Dummy"". They ran the gamut from the psychological problem play to the then-modern detection of crime drama, including the romantic and business plays and the play of politics. She married Dr. Forde Morgan (1865-1938) in 1930; he was a medical director of Sterling Products Company. Ford died December 12, 1949, in New York City. Her papers are held at the New York Public Library. Harriet Ford Harriet Ford (later, Mrs. Forde Morgan; 1863 – December 12, 1949) was an American actress and playwright who"
"""Prefaces to Shakespeare"" episode for ""The Merry Wives of Windsor"" was presented by Prunella Scales who portrayed Mistress Page in the BBC adaptation. The ""Shakespeare in Perspective"" episode was presented by novelist Jilly Cooper. Cast Inspired by the notion that the political intrigues behind the Wars of the Roses often seemed like playground squabbles, Howell and production designer Oliver Bayldon staged the four plays in a single set resembling a children's adventure playground. However, little attempt was made at realism. For example, Bayldon did not disguise the parquet flooring (""it stops the set from literally representing [...] it reminds us"
"The Fancies Chaste and Noble The Fancies Chaste and Noble is a Caroline era stage play, a comedy written by John Ford, and notable for its treatment of the then-fashionable topic of Platonic love. The dates of authorship and first performance of the play are uncertain, though the limited historical information does provide some clues. The title page of the first edition states that the play was acted by Queen Henrietta's Men at the Phoenix or Cockpit Theatre. Queen Henrietta's Men performed at the Cockpit from their inception in late 1625 to May 1636, when the theatres of London suffered"
"spent most of the next five years. In 1902, she appeared as Mistress Ford opposite the Mistress Page of her childhood friend Ellen Terry in ""The Merry Wives of Windsor"" with Herbert Beerbohm Tree's company. The Kendals continued to appear in popular plays without interruption until 1908, when they both retired, though Mrs Kendal reprised her Mistress Ford at the coronation gala of 1911 at His Majesty's Theatre. The Kendals had five children, but they reportedly were estranged from them. Her husband died in 1917. In retirement, Madge Kendal became active with many theatre charities, becoming president of the actors'"
"up her vain and selfiish ways to be a fit wife for Velasco. The play's comic relief is supplied by a group of minor characters – two quarrelling followers of Alphonso, the astrologer Pynto and a bluff captain named Bufo; plus Velasco's servant Mopas and the matchmaker/bawd Madame Shaparoon. The Velasco/Salassa subplot derives from Novel 13 in the ""Histoires Tragiques"" of François de Belleforest. The Queen (play) The Queen, or The Excellency of Her Sex is a Caroline era tragicomedy. Though published anonymously in 1653, The play is now generally attributed to John Ford — making it a significant addition"
"Love's Sacrifice Love's Sacrifice is a Caroline era stage play, a tragedy written by John Ford, and first published in 1633. It is one of Ford's three surviving solo tragedies, the others being ""The Broken Heart"" and ""'Tis Pity She's a Whore"". The date of the play's authorship and first performance is uncertain, though some scholars cite 1633 as the most likely year. A mention of ""woman antics"" in Act III may refer to the performance of Walter Montague's masque ""The Shepherd's Paradise"" by Queen Henrietta Maria and her ladies in waiting in January 1633. (The production of that masque"
"by Anthony Page and starring Maggie Smith, Catherine McCormack (Jo), Chris Larkin (Edgar), Robert Sella (Sam), Peter Francis James (Oscar), Vivienne Benesch (Lucinda), Jennifer Regan (Carol), and Glenn Fleshler (Fred). The play's first act finds three young couples (Sam + Jo hosting Fred + Carol and Lucinda + Edgar) engaging in party games like Twenty Questions. Jo's angry bitterness becomes apparent earlier than its source, which is the terminal disease that tortures her and will soon claim her life. At the end of the act, after the mounting tension drives the guests to leave, Sam carries Jo up to bed."
"letters to Mistresses Ford and Page, but his henchmen Nym and Pistol refuse to be part of this scheme. Falstaff then instructs his page Robin to deliver the separate letters. Nym and Pistol then decide to inform Master Ford of Falstaff's scheme. Ford enters, already feeling jealousy and suspicion of his wife's fidelity. When Nym and Pistol tell Ford of Falstaff's plan, Ford resolves to visit Falstaff in disguise to see how far Falstaff's plot proceeds. The merry wives, Mistresses Ford and Page, sing of cuckoos in counterpoint to Ford's rage. ""Scene 1: A room in Page's house"" In Page's"
"where she lived for the rest of her life. In 1889, her son joined the Lyceum company as an actor, appearing with the company until 1897, when he retired from the stage to study drawing and produce woodblock engravings. Her daughter Edith also played at the Lyceum for several years from 1887, but she eventually turned to stage direction and costume design, creating costumes for Terry, Lillie Langtry, and others early in the 20th century. In 1902, Terry played Mistress Page in ""The Merry Wives of Windsor"", with Herbert Beerbohm Tree as Falstaff and Madge Kendal as Mistress Ford. In"
"warn of Mistress Page rushing over to the house. Mistress Page suddenly comes in to let everyone know that Master Ford is en route to the house in a jealous rage, which to her is part of the scheme to dupe Falstaff, except that Ford truly is on his way to the house, of which no one is aware. The only place for Falstaff to hide is the laundry basket. Falstaff therein hides, and then Ford and his followers suddenly show up, in search of the ""monster"" alluded to earlier. Mistress Ford directs her servants to remove the laundry basket,"
"their longest shutdown due to bubonic plague. When the theatres finally re-opened in October 1637, the Queen Henrietta's company was esconced in the Salisbury Court Theatre, not the Cockpit. Some scholars point to the 1635–36 interval as the most likely time for the play's genesis — though a few dissenters date the play as early as 1631. The play was first published in 1638. The quarto was published by the bookseller Henry Seile, who had issued Ford's ""The Lover's Melancholy"" nine years earlier. Like other quartos of Ford's plays, the title page bears Ford's anagrammatic motto ""Fide Honor."" Ford dedicated"
"with a dedication by Ford to his personal friends Sir John Wyrley and his wife, Mary (née Wolley), the illegitimate daughter of Sir Francis Wolley. The title page bears Ford's anagrammatic motto, ""Fide Honor,"" as is usual for Ford publications of the era; and it states that the play was acted by ""both their Majesties' servants at the private house in Drury Lane"" — that is, by the King and Queen's Young Company, colloquially known as Beeston's Boys, at the Cockpit Theatre. This simply confirms the fact that the play was performed once the London theatres re-opened after the long"
"of love as sham and pretense. Critics have seen an obvious influence from Shakespeare's ""Othello"" in Ford's play. D'Avolos is a version of Iago; Bianca champions the cause of a courtier named Roselli, as Desdemona champions Cassio. The poet Richard Crashaw refers to two of Ford's plays in a couplet in his ""Delights of the Muses"" (1646): Love's Sacrifice Love's Sacrifice is a Caroline era stage play, a tragedy written by John Ford, and first published in 1633. It is one of Ford's three surviving solo tragedies, the others being ""The Broken Heart"" and ""'Tis Pity She's a Whore"". The"
"plague closure of 1636–37. As Ford's final play, ""The Lady's Trial"" departs from the pattern of his earlier works; it is ""more like the fashionable Cavalier plays of the court dramatists...there is in the play an artificiality and refinement not found in the earlier plays but pervasive in the court drama of the time."" Neither of Ford's two late comedies, ""The Fancies Chaste and Noble"" and ""The Lady's Trial"", has ranked high with critics, though ""The Lady's Trial"" has benefitted in that it lacks much of the overt bawdry and sexuality of the earlier play, and contains elements ""beautiful in"
"house, Mistress Page reads the letter to her from Falstaff. Mistress Ford then arrives with her own letter from Falstaff. The merry wives compare the letters and see that they are identical except for the names. They vow revenge on Falstaff for his attempted treachery. They engage Mistress Quickly to deliver a message to Falstaff that he should go to Alice Ford's house between ten and eleven that night. ""Scene 2: The parlour of the Garter Inn"" Bardolph announces to Falstaff the arrival of a visitor, Master ""Brook"", who is Ford in disguise. ""Brook"" affects to be in love with"
"The Lady's Trial The Lady's Trial or ""The Ladies Triall;""is a Caroline era stage play, a comedy by John Ford. Published in 1639, it was the last of Ford's plays to appear in print, and apparently the final work of Ford's dramatic career. A copy of the play can be found in the Henry E. Huntington Library and Art Gallery under the name ""The Ladies Triall. "" The play was licensed for performance by Sir Henry Herbert, the Master of the Revels, on 3 May 1638. The quarto edition of the following year was issued by the bookseller Henry Shepherd,"
"Shakespeare; Falstaff's room is based on the home of Mary Arden (Shakespeare's mother) in Wilmcote, and the wives' houses are based on the house of Shakespeare's daughter Susanna, and her husband, John Hall. For the background of exterior shots, he used a miniature Tudor village built of plasticine. Homfray won Best Production Designer at the 1983 BAFTAs for his work on this episode. Jones was determined that the two wives not be clones of one another, so he had them appear as if Page was a well-established member of the bourgeoisie and Ford a member of the ""nouveau riche"". The"
"Shakespeare used cross-dressing in his performances. Over the centuries some readers have posited that Shakespeare's sonnets are autobiographical, and point to them as evidence of his love for a young man. With this said, Shakespeare had characters in his writings that were considered cross-dressers. The four of the five main female characters in his plays were seen as women who cross-dress as men or boys: Cleopatra in Antony and Cleopatra, Portia in The Merchant of Venice, Rosalind in As You Like It, Viola in Twelfth Night. Genderfucking is seen through many forms of life. One of these forms is drag."
"(1620). After 1620 he began active dramatic writing, first as a collaborator with more experienced playwrights — primarily Thomas Dekker, but also John Webster and William Rowley — and by the later 1620s as a solo artist. Ford is best known for the tragedy ""'Tis Pity She's a Whore"" (1633), a family drama with a plot line of incest. The play's title has often been changed in new productions, sometimes being referred to as simply ""Giovanni and Annabella"" — the play's leading, incestuous brother-and-sister characters; in a nineteenth-century work it is coyly called ""The Brother and Sister."" Shocking as the"
"Heart,"" and the lost ""Beauty in a Trance"" (licensed 28 November 1630) — are known to have been acted by the King's Men, and they are all relatively early Ford plays; this may imply that ""The Laws of Candy"" is early as well, which could help to explain its relative crudity. If the play was written as early as 1619 or 1620, it could be the earliest of Ford's extant dramatic works. The play is set in Crete — ""Candy"" and ""Candia"" being archaic names for the island. In Ford's fictional Candy, two unusual laws are in the statute books."
"Falstaff (Salieri) Falstaff, ossia Le tre burle (""Falstaff, or The Three Jokes"") is a ""dramma giocoso"" in two acts by Antonio Salieri, set to a libretto by Carlo Prospero Defranceschi after William Shakespeare's ""The Merry Wives of Windsor"". One of the earliest operatic versions of Shakespeare's play, Salieri's ""Falstaff"" is notable for a general compression and streamlining of the original plot, note the absence of the two young lovers, Fenton and Anne, and the addition of a scene in which Mistress Ford pretends to be German to charm Falstaff (actually two such scenes exist, one in a separate score by"
"which they do, under great strain because of Falstaff's weight. Ford only succeeds in finding Mistress Page hidden behind a curtain. ""Scene 1: A room in Ford's house"" Ford asks forgiveness from his wife, which she grants. The Fords and Pages then plot a final revenge on Falstaff, by luring him to Windsor Forest, where legend has it that Herne the Hunter haunts Herne's Oak, and fairies torment unaware travellers. Mistress Page intends to dress as the fairy queen, and with the help of local children, will taunt Falstaff. Mistress Page tells Caius that Anne will be wearing green, to"
"by the character Rhetias, ""a reduced courtier"" who is the servant of Eroclea/Parthenophill, and ""two foolish courtiers,"" Pelias and Cuculus. In portraying the depression of Prince Palador and Lord Meleander, Ford worked in a subgenre of psychiatric fiction that would only become prominent in the twentieth century. The play is also strongly influenced by the cult of love fashionable at the time. ""Ford's characters speak in courtly love-jargon, pen and recite love letters and poems, woo in extravagant conceits, and carry on debates and similitude contests; they become involved in secret loves and disguises and despair over unsatisfied desire."" Some"
"2015, Edward's Boys, an all-boys cast from King Edward VI School, Stratford-upon-Avon, performed The Lady's Trial in Shakespeare's Globe's Sam Wanamaker Playhouse. The Lady's Trial The Lady's Trial or ""The Ladies Triall;""is a Caroline era stage play, a comedy by John Ford. Published in 1639, it was the last of Ford's plays to appear in print, and apparently the final work of Ford's dramatic career. A copy of the play can be found in the Henry E. Huntington Library and Art Gallery under the name ""The Ladies Triall. "" The play was licensed for performance by Sir Henry Herbert, the"
"one of five plays the boys performed before the King and Prince Henry at Whitehall. Field himself is believed to have played the role of Nevill, the ""puppet-master"" of the play, in these performances. Though there are no contemporary records of the play's original reception, the fact that it was selected for Court performance alongside works by established playwrights suggests it must have been a success. The play was published in quarto in 1612 with the title page reading: ""A Woman is a Weather-cocke. A New Comedy, As it was acted before the King in White-hall. And divers times Privately"
"married women, Mistress Ford and Mistress Page. Falstaff decides to send the women identical love letters and asks his servants – Pistol and Nym – to deliver them to the wives. When they refuse, Falstaff sacks them, and, in revenge, the men tell Ford and Page (the husbands) of Falstaff's intentions. Page is not concerned, but the jealous Ford persuades the Host of the Garter Inn to introduce him to Falstaff as a 'Master Brook' so that he can find out Falstaff's plans. When the women receive the letters, each goes to tell the other, and they quickly find that"
"company's production of Ford's ""The Lover's Melancholy"" in late 1628 or 1629. This suggests that ""The Queen"" may also have been acted by the King's Men. Since Ford is thought to have written for the King's Men only early in his career – just two of his earlier plays were acted by the company — ""The Queen"" may be another early work. The play's internal evidence of style and textual preferences points to Ford; it shows, among other particulars, the pattern of unusual contractions (""t'ee"" for ""to ye,"" ""d'ee"" for ""do ye,"" ""y'are"" for ""you are"") that typifies Ford's work."
"powers, she finds the dispatches in Napoleon's coat. Napoleon says he's been outwitted by an Englishwoman, and makes a series of comments about the English ability to constantly have things both ways (""As the great champion of freedom and national independence, he conquers and annexes half the world, and calls it Colonization""). He gives the woman the letter unopened; she burns it. The play was written for Ellen Terry and Richard Mansfield, but was first performed, on 1 July 1897, at the Grand theatre, Croydon with Murray Carson and Florence West in the principal roles. The play was the first"
"Falstaff goes to meet the women but Mistress Page comes back and warns Mistress Ford of her husband's approach again. They try to think of ways to hide him other than the laundry basket which he refuses to get into again. They trick him again, this time into disguising himself as Mistress Ford's maid's obese aunt, known as ""the fat woman of Brentford"". Ford tries once again to catch his wife with the knight but ends up beating the ""old woman"", whom he despises, and throwing her out of his house. Black and blue, Falstaff laments his bad luck. Eventually"