The Long Goodbye: Welles and Falstaff

Abstract

O NE OF THE RICHEST DEBATES in the history of Shakespearean criticism focuses upon Falstaffs role in the second tetralogy. In our time we have been rewarded with a variety of provocative interpretations of Shakespeare's most famous comic creation. To mention only some of the more familiar and recent, we have Falstaff as Braggart Soldier and Vice (J. Dover Wilson), Falstaff as Saturnalian Lord of Misrule (C. L. Barber), Falstaff as Emblem of Supreme Charity (W. H. Auden), Falstaff as Parodist and Holy Fool (Roy Battenhouse), and Falstaff as Centaur (Douglas J. Stewart).' The vigor of the continuing dialogue is witness to the power the second tetralogy exercises for modem readers. It is therefore surprising that our age has not produced a series of stage interpretations to match the wit and intelligence of the critical exchange about Falstaffs central importance to the plays which give him life. What makes it all the more paradoxical is that we live at a time directors, particularly in England, have been highly receptive to translating the insights and methods of literary critics and scholars into imaginative production strategies. The most recent staging of 1 and 2 Henry IV and Henry V by the Royal Shakespeare Company in 1975 found its interpretive center in Alan Howard's development of Hal rather than in Brewster Mason's portrayal of Falstaff. The great production in the trio was Henry V, which was justifiably applauded by international audiences and critics. Significantly, it was also the first of the three plays to be performed at Stratford, though Alan Howard has indicated that when we began rehearsals we worked on Henry V for one half the day, and Henry IV, Part One for the other half. And gradually one began to see that the whole question of acting, of roles, which is so central to the early Hal, is carried through into Henry V.'2 Howard makes no mention of what Hal may have learned about assuming roles from his master teacher, Protean Falstaff. Stratford Festival Canada's productions of 1 and 2 Henry IV