Much Ado About Falstaff
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Written by Simon Downing
Performed by Giles Shenton & Georgie Taylor/Rosie Pickering
A hilarious new play about Sir John Falstaff…a rogue, a philanderer and a glutton, but also one of Shakespeare’s greatest and enduring comic creations.
In this new comedy by Simon Downing we find Falstaff, played by Giles Shenton (Old Herbaceous & Three Men in a Boat) in his bedroom in the Boars Head being nursed by Mistress Quickly played by Georgie Taylor & Rosie Pickering.
The creditors arrive demanding payment. Will Falstaff resort to marrying Mistress Quickly in order to pay off his debts? Will he turn teetotal? Will he mellow in his old age? Find out the answers to all these important questions that Shakespeare never bothered to answer and join Falstaff and Mistress Quickly for an evening of jollity, frivolity, a definite lack of coequality and more Shakespearean insults than ever previously heard on a theatrical stage!
The play originally opened in Feb 2020 with most touring dates cancelled due to Covid......but Flastaff is now ready to be unleashed upon the masses once again!
Future performances
26 Nov 2025 Foxlowe Arts Centre, Leek, Staffs
https://www.liveandlocal.org.uk/whats-on/
28 Nov 2025 Tutbury Village Hall, Staffs
https://www.liveandlocal.org.uk/whats-on/
29 Nov 2025 Snitterfield Village Hall, Warks
https://www.liveandlocal.org.uk/whats-on/
5 Feb 2026 Tennyson d'Eyncourt Memorial Hall, Tealby, Lincs
https://www.liveandlocal.org.uk/whats-on/
6 Feb 2026 Costock Village Hall, Notts
https://www.liveandlocal.org.uk/whats-on/
22 April 2026 Bromsgrove Arts, Fairfield, Worcs
https://bromsgrovearts.org.uk/event/much-ado-about-falstaff/
Past performances
21 Feb 2020 Phoenix Theatre, Bordon, Hants
22 Feb 2020 Phoenix Theatre, Bordon, Hants
25 Feb 2020 South Hill Park Arts Centre, Bracknell, Berks **SOLD OUT**
1 Mar 2020 Vera Fletcher Hall, Thames Ditton, Surrey CANCELLED DUE TO COVID
23 May 2020 Glastonbury Abbey, Glastonbury, Somerset CANCELLED DUE TO COVID
11 June 2020 Cryer Arts Centre, Carshalton, Surrey CANCELLED DUE TO COVID
12 June 2020 Brixham Theatre, Brixham, Devon CANCELLED DUE TO COVID
18 June 2020 Middlesbrough Theatre, Middlesbrough, N Yorks CANCELLED DUE TO COVID
2 July 2020 Moorland Garden Hotel, Yelverton, Devon CANCELLED DUE TO COVID
3 July 2020 Cotswold Playhouse, Stroud, Glos CANCELLED DUE TO COVID
4 July 2020 Miserden Estate, Gloucestershire
15 July 2020 Torch Theatre, Milford Haven, Wales CANCELLED DUE TO COVID
17 July 2020 Caerau Gardens, Bala, N Wales CANCELLED DUE TO COVID
26 July 2020 Sussex Prairie Gardens, Henfield, West Sussex CANCELLED DUE TO COVID
1 Aug 2020 RHS Harlow Carr, Harrogate, Yorks CANCELLED DUE TO COVID
6 Aug 2020 Denmans Gardens, East Sussex CANCELLED DUE TO COVID
7 Aug 2020 Avon Mill, Kingsbridge, Devon CANCELLED DUE TO COVID
8 Aug 2020 Avon Mill, Kingsbridge, Devon CANCELLED DUE TO COVID
9 Aug 2020 Burrow Farm Gardens, nr Axminster, Devon CANCELLED DUE TO COVID
15 Aug 2020 Trebah Gardens Amphitheatre, Cornwall CANCELLED DUE TO COVID
22 Aug 2020 Leith Hill Place, Dorking, Surrey CANCELLED DUE TO COVID
30 Aug 2020 Wield & Downland Open Air Museum, Sussex
23 Sept 2020 Brighton Open Air Theatre, East Sussex
15 Oct 2020 Manor Pavilion Theatre, Sidmouth, Devon CANCELLED DUE TO COVID
16 Oct 2020 Cygnet Theatre, Exeter, Devon CANCELLED DUE TO COVID
2 May 2025 Ilmington Village Hall, Ilmington, Warks
3 May 2025 Ilmington Village Hall, Ilmington, Warks
9 May 2025 Cotswold Playhouse, Stroud, Glos
16 May 2025 Southwold Arts Centre, Southwold, Suffolk
22 May 2025 Middlesbrough Theatre, Middlesbrough, North Yorks
29 May 2025 The Place, Bedford
7 June 2025 Tysoe Village Hall
12 June 2025 Corn Hall, Diss, Suffolk
19 June 2025 Petersfield Museum, Petersfield, Hants
21 June 2025 Burton Dassett Village Hall, Warks
9 July 2025 Stafford Gatehouse Theatre, Stafford, Staffs
10 July 2025 Stafford Gatehouse Theatre, Stafford, Staffs
24 July 2025 The Astor Theatre, Deal, Kent
25 July 2025 Barn Theatre, Oxted, Surrey
2 Aug 2025 Brixham Theatre, Brixham, Devon
27 Sept 2025 Cygnet Theatre, Exeter, Devon
31 Oct 2025 Sherborne Studio Theatre, Sherborne, Dorset **SOLD OUT**
1 Nov 2025 Sherborne Studio Theatre, Sherborne, Dorset (afternoon)
1 Nov 2025 Sherborne Studio Theatre, Sherborne, Dorset (evening)
7 Nov 2025 Caister Town Hall, Caister, Lincs
14 Nov 2025 Randwick Village Hall, Stroud, Glos
Reviews
Sherborne Studio Theatre Oct 2025
Much Ado About Falstaff brings mirth, madness and misadventure to Sherborne.
Giles Shenton, who won us over last year with his one-man performance of “Three Men In A Boat”, made a very welcome return to Sherborne this month with "Much Ado about Falstaff".
It was a lively and irreverent parody that reimagined the legendary and dubious exploits of Sir John Falstaff with wit and affection. Written specifically for Giles by Simon Downing, the show dives into the chaotic life of Falstaff, painting a portrait of a penniless, lovable rogue whose greatest talents are drinking, starting fights he never finishes, and endlessly running away from trouble and – above all – a motley army of creditors. “It would sooner snow in hell than your purse be full”. Giles and Georgie Taylor, playing the hapless Mistress Quickly, captured our hearts from the outset with their endearing but inexplicable mutual devotion.
The show’s comedic highlights were nearly all based on unpleasant bodily functions, yet the narrative was peppered with clever wordplay and physical humour – including the superb use of the ‘slapstick’, literally a stick that makes a sharp hitting sound to simulate a whack around the skull. It was also a comic exploration of the morality of the time, making it a true celebration of Shakespearean farce. The question “are you doubting my horsemanship?” is met with the single word “Neigh!” The mild innocence of ‘hearsay’ took a dark turn when we discovered that he was actually accused of ‘heresy’.
The production explored Falstaff’s many faults—his fondness for sack (both wine and the bed), his impecunious state, and his endless hedonistic appetite – “If you know of greater things than food, drink, and fornication, pray tell”. Yet, beneath the belching, farting, cowardly glutton, Giles wanted us to have a genuine affection for his character “made of sturdy English oak” as the audience is invited to love him despite (or perhaps because of) his flaws. Mistress Quickly, brilliantly played by Georgie as a perfect counterpoint to the old scoundrel – lists his manifold failings but sums it up with: “Yet I do love him. I do so wish to eke out our final years together”
The mis-perceived love-rivalry with Pistol added an extra layer of jealousy and absurdity, while Mistress Quickly’s eagerness to marry brought warmth and a touch of romance.
Falstaff, of course, would sooner be buried up to his neck in the ground with peasants throwing turnips at his head for target practice than be married.
Overall, "Much Ado about Falstaff" was a spirited homage to one of literature’s great comic figures. The parody didn’t shy away from poking fun at the unforgivable bad behaviour and the endless cycle of misadventures that define Falstaff’s existence. It was a rollicking ride through the follies and foibles of Sir John, filled with laughter, sharp dialogue, and two perfectly portrayed lovable characters who were as endearing as they were exasperating. With Falstaff and Mistress Quickly, Giles and Georgie ensured that the Sherborne audience all enjoyed their journey back in time to share in the revelry.
We look forward to seeing whatever they want to bring to Sherborne next year.
Adrian Harding
Corn Hall Diss - by David Vass
Giles Shenton was surely born to play Falstaff even if, as he begrudgingly admitted, the RSC wasn’t interested. Just one of countless asides that may or may not be ad-libbed in Simon Downing’s tribute to one of Shakespeare’s finest comic creations.
If you ever wondered what happened to Sir John after Hal rejected him, then wonder no more. He may be down on his luck, but he’s as unrepentant as ever, living in East Cheap with Mistress Quickly, who he promises to marry. Quickly is more than a match for Falstaff, weary of his flatulent excesses yet still sweetly, if inexplicably, in love with him. Georgie Taylor brings a grounded reality to Falstaff’s other half-to-be, investing the character with a touching humanity sorely lacking in Sir John. The two of them verbally joust in a two hander that both respectfully honours Shakespeare’s creation, yet isn’t afraid to poke fun at the theatrical conventions of the day.
Loosely framed around the conceit that Falstaff in being pursued by off stage debtors the play is really an excuse to explore the comic possibilities of a character brought back to life from the Elizabethan era. So while the play worked well as a standalone piece of theatre, there’s no denying that greater riches were buried in the text for anyone more familiar with Falstaff’s fall from grace in the two parts of Henry IV. The underlying tragedy of a man left behind as Hal put away childish things bubbles away throughout, so that – notwithstanding the nods given to the broader canon – this was ultimately a play about resilience in the face of rejection.
There was an overarching sense that great care and attention to detail was taken throughout the play. As we’ve come to expect from a GSP production, the stage was handsomely dressed, while sound design was economic yet effective. Both actors seemed entirely confident in their roles. Despite the comedic possibilities of Taylor causing havoc with a slapstick or Shenton pulling down his drawers, it was during their rare intimate moments that the authenticity of the characters’ relationship shone through.
Brighton Source
A chilly September evening is warmed and cheered by Much Ado About Falstaff, an extra chapter of an already roguish tale and a peek at the goings-on upstairs at The Boar’s Head, Eastcheap.
Unsurprisingly Falstaff is in trouble again, meeting hard times with his customary lack of responsibility and choosing instead to seek solace in ale and good company. Now, with creditors hammering at the door, he must rely upon the steadfast (if occasionally muddled) Mistress Quickly to save him from ruin.
Giles Shenton effortlessly embodies all that audiences have come to know and love of Sir John Falstaff. He commands the stage with epic, rousing speech peppered with asides that win the audience within the opening moments. Opposite him is Suzanna Walters, a fantastic Mistress Quickly. As frequently foul-mouthed and jocular as the knight himself she still yet manages to anchor him to reality and stop him wandering off into his own manufactured legacy.
There is a merry war betwixt the two that is waged throughout the show, showering the action with wit, smut and an entire arsenal of entendre. It is here that Simon Downing’s writing truly excels. His mastery of the language is indisputable and used to great effect, less an act of imitation and more a faithful homage to that bardic comic relief we look for in the comedies and long for in the tragedies. Quickly’s loose grasp of the English language often wrongfoots a Falstaff more accustomed to spilling forth a Trumpian spew of undigested thoughts and forming the crux of his arguments from the parts that sounded prettiest. Throughout the play there is no subject matter out of bounds and no level not to be stooped to – from friars to flatulence, soliloquies to sexual health and even the occasional jibe aimed at Shakespeare himself for good measure.
There are some more tender moments, particularly in the second half, and their scarcity renders them all the more poignant. A glimpse behind the mirth reveals a solemn figure reminiscing over days of long-gone glory and good times with old friends. Falstaff now languishes in his attempts to live up to his own legend, all the while his health is failing him. However, the sheer hope that Quickly manages to instil in both of them – of a new life and one more adventure now to be shared – is truly touching, especially with Quickly having so long watched her own aspirations pulled apart by the whims of those around her.
But for the most part, Much Ado About Falstaff is an evening of silliness that revels in its humour and wit, be it bardic wordplay or fart jokes. “More Shakespearean insults than ever previously heard on a theatrical stage” is undoubtedly correct and these often find themselves met with the sharp clap of a slapstick. This latest show is a dose of good, unclean fun that embodies the spirit of the Fat Knight himself. To be enjoyed by Shakespeare lovers and haters alike it is more than worthy of its place in the canon.
Brighton Open Air Theatre, Wednesday 23rd September 2020