Sunday October 12th MDRF 2025

Sunday of the Eighth Weekend was overcast and remained overcast for most of the day. The rain managed to hold off until late in the day, and I was glad about that. 

After Opening Gate, I headed to the area near the Maypole to see Hugh MacGregor, Beatrice Appleton-MacGregor, and Millie Appleton present Sunday's Entry Poll, but there was an unexpected twist here. The front Entry Poll question on the chalkboard was "What's the trickiest treat?", and three of the options were the usual silliness, but the bottom left option had been deliberately erased by Millie. The explanation I received was that Millie was told that any mark for 'tax evasion' meant less ribbons for Millie's wedding, and Millie would not stand for that. 

Hugh offered to put in a different option, and replaced it with "Market to Market". This didn't satisfy Millie, however, so she pretty much filled in that space with marks (what Hugh and Beatrice referred to as "Millie's Rage") to prevent people from voting for the bottom left option. As far as I know, that's the version of that Entry Poll they stuck with for the remainder of the morning period. 

Afterward came the Morning Dance, performed with the usual tune with the easy to remember lyrics (it's just one word). I had a brief chat with Sir Francis Bryan, before heading to the Gatehouse Stage for the Royal Welcome.

The first half of the Royal Welcome show is devoted to what's going on in the Village. Hugh MacGregor is dealing not only with the expenses of the Royal visit, but the expenses of Millie's wedding plans. Millie is looking forward to her wedding to Reginald Waldegrave, but there are some possible complications, given that Reginald has received a job offer that he may or may not accept. Meanwhile Constance Payne announces that she is in charge of Tiddington's fighting force, which she calls the Payne Patrol. 

However, the biggest argument was the one between current Revel Grove Mayor Hugh MacGregor and former Revel Grove Mayor Sir Richard Mondes (who has since gone on to become a Member of Parliament). There's a dispute over the position of the Mayor's house, built on what Hugh says is MacGregor land. After Sir Richard went on to London, apparently Hugh thought it was a good idea to move in to the manor, but Sir Richard states that Hugh is squatting and that Bailiff Grimm should have him removed from the house. This causes a fight to ensue between two people who are otherwise good friends, Reginald Waldegrave and Bailiff George Grimm. It's an over-the-top sequence the likes of which Revel Grove hasn't seen since Renaissance Rumble, complete with WWE-style commentary from Hugh MacGregor. 

Fortunately, they are still able to maintain an amount of civility during this, and not damage the King's chair. Which of course is a good thing, as the King and the Royal Court soon arrive, and more or less take over the show from there with the dispute between Hugh MacGregor and Sir Richard Mondes remaining unresolved. From that point on, the show revolves around King Henry, and Hans Holbein showing portraits of possible brides for the King (and Viscountess Rochford marking on her chalkboard in the background). Of course, none of these choices are the ones the King ultimately picks, and Hans Holbein will later show the portraits of Amalia and Anna of Cleves at the "Bride for the King" show at the Globe Theatre Stage at 4:15.

Over at O'Shucks, I heard some sad news about the passing of longtime MDRF contributor Larry Peterka. Larry was a member of the MDRF community for over thirty years in many capacities, as a Landsknecht and jouster, and Sir Thomas Kytson in Timeline B, among others. A friend and mentor to many, he will be greatly missed.

On a much brighter note, I saw the tail end of a Madwitch set at the Boar's Head Tavern as they played their set of lively tunes. I must say it helped liven my spirits a bit.

I then went over to the Fortune Stage for Topsy Turvy and their acrobatic show. From whip stunts to various acro balancing, there's plenty of stunts, silliness, and sibling rivalry. At one point, Lily dumped confetti on Amanda. There were also some silly snippets of songs or song parodies. For what they referred to as the 'traumatic grand finale', they combined whip stunts with balancing. 

At the nearby Blackfriars Stage was the Lynx Show. Lynx performs a number of dangerous stunts, including sword swallowing. Much like his friend and mentor Johnny Fox, he demonstrated that the blades he uses are real. He finished the act with a stunt I won't describe in too much detail, but he says he's the only one who does this particular stunt.

Over at the Grounds for Defense, I saw the Quarterstaff demonstration from Revel Grove's fight corps (or the Millie-tia, given Millie's presence there). Dash Rippington and Captain Romero spoke of quarterstaffs and how they were much less expensive than swords. There followed a quarterstaff fight between Cecily Payne and Henry J. Knuckles, and Knuckles accused Payne of not playing fair. Another quarterstaff fight followed, with Constance Payne vs. Nymblewicke. Then Dah, Romero, and Reginald got their turn to be involved in another quarterstaff fight.

I stayed for the STREETSpeare scene from "The Maid's Tragedy". In this scene from Francis Beaumont and John Fletcher's story of love and betrayal, Evadne confronts the story's king and seeks revenge, explaining the reasons for her actions. While there might be a bit of dark comedy here, this is still pretty much a tragedy, and Evadne's actions will have consequences in the later second scene over at the Globe Theatre.

I then rushed to the Boar's Head in the midst of Reveler's Roulette and joined "The Goddess and the Weaver" (performed by the incognito Weyward Sisters) in-progress. This was followed by Midnight Hour with "The Last Time". Patrick of the Hooligans was there again like last Sunday, but this time John Dickson Wakefield also wanted in on some of the "soul-fulfilling performances" (as Patrick described last week's collaboration), so he was there to join Patrick, Edie, Ellie and company for the love song "Love You Till The End". Baron Templeton arrived at the Boar's Head to perform "The Water is Wide".

The Crimson Pirates performed a set at the Gatehouse Stage. I arrived in time for "Jack of All Trades". This was followed by "Saucy Sailor", and then the tale of "Billy the Squid", an undersea outlaw who "took from the selfish and gave to the shellfish". Next was 
"Pump Shanty", followed by "Henry Martin". The set concluded with an uptempo version of "Sailor's Prayer (I Will Not Lie Me Down)".

I then headed back to the Royal Pavilion for the STREETSpeare scene of Henry VIII, Act 4 Scene 1, where two gentlemen discuss the latest news at court regarding Anne Boleyn's coronation. And so here I completed my STREETSpeare card and got the last stamp.

I then made it to the Globe Theatre Stage in time for the last portion of Macbeth. I arrived in the midst of Malcolm and Macduff's conversation, which is interrupted by the terrible news about the fate of Macduff's family. I then stayed for the rest of the show, including Lady Macbeth's madness, Birnham Wood coming to Dunsinane, and the amazing final showdown. It's truly an incredible production, and I'm glad to have been able to see it a few times this season.

Over at the Gatehouse Stage, Shakespeare Approves - Your Friendly Neighborhood Shakespeare was in the midst of the Hamlet Christmas Special (it may or may not make sense in context). 

I stayed for the Bad Idea Variety Show. Before the show began, Doug Stafford found one of Daisy O'Danny's small rubber chickens that had been left over earlier. 

The show began in earnest, as Doug Stafford did his bit with the bowling ball, and noted yesterday's incident. The show's called the Bad Idea Variety Show, as it deals with things that are generally bad ideas. From juggling items with very different weights to stuff you shouldn't do with marshmallows, there's certainly plenty of 'bad ideas'. At this point, the wind was picking up, so the box juggling segment was all the more amazing for being successfully accomplished in the wind. We soon moved on to the 'don't try this at home stuff', involving knife juggling. Then came the blindfold, rolla bolla, and straitjacket, followed by disc balancing and shock sticks. 

Next was Village Court, with Justice of the Peace Reginald Waldegrave presiding, accompanied by Bailiff George Grimm, Margery Malagrave, Professional Mourner and petty constable, Hugh MacGregor as stenographer (writing comments on the cases on the chalkboard), and Fortune Blunt as the bard providing musical accompaniment and the jingle. 

At this point, the rain had started, so the first case at Village Court involved the rain, as someone decided to put the weather on trial.

Margery spoke of the forecast, and how in the end the weather was at fault. Margery said that we at the Ren Faire created our own magic and the weather gods should have recognized that, and yet we are punished. Grimm avoided a bit of rain falling from the awning above the stage, and stated that it's easy to avoid the rain and still have a good time. 

Margery said that in spite of her opponent's tone, "We shall have warmth! We shall have joy! We shall not have rain!" Grimm argued that in spite of the rain, we did have warmth and joy, and that we are masters of our own destiny. So the choice was clear: Should we sue the weather or just make our own joy regardless of the weather? I think it was decided in favor of the latter.

Case Two revolved around someone cited for poor attendance. Margery noted how the cast spent much of the summer preparing for the festival entertainment. Grimm noted that his client was present at the start of the day, and that the nature of the grievance was that he was not there for prior festival days. While he concedes the point that everyone in the village has been practicing hard for much of the summer, his client has been busy with other projects elsewhere, and can't be expected to show up here every day. It's unreasonable. 

Margery said she could appreciate a busy schedule, as she's no stranger to those herself, however they did not receive a pigeon sending apologies for missing out. So the question was, should they hold the client accountable or just understand that the client had a busy schedule? In the end, the jury/audience fount that his attendance was found wanting. 

Case three had two citations for radiant beauty beyond reasonable standards. To make a long story short, it was decided that they were far too beautiful.

Case 4 involved two people who are clearly fans of Debracey Productions Equestrian show. A woman accused a wizard of slandering Sir Keegan O'Connor, who is renowned for his amazing trick riding abilities. The slander was along the lines of "Sir Keegan eats slop". Margery praised Sir Keegan, and conceded that the horse-riding business can be dirty at times, but if in the course of the business some dirt gets in his mouth, Sir Keegan will expel it and continue on. Grimm argued that the remark was not slander, it's just a fact. In the end, Reginald was worried that Sir Keegan wouldn't like the verdict. 

Case 5 had a baby charged with conveyance of carriage without a permit. Margery defended the baby and said the father was at fault. Grimm said that laws apply to all even cute babies. By a narrow margin, the jury/audience decided that the baby goes free. 

Case 6 involved an alleged werewolf. Is the client just a hairy man, or is he a werewolf? 

Case 7 involved a dispute about false advertising. Apparently, a lady's friend was supposed to be dressed as an angel or goddess but was missing her halo. Margery Malagrave argued that were her client the goddess were to appear in full glory, she would blind every single one of us, so instead she muted her glory to help us. The jury/audience decided in favor of the plaintiff that the goddess should have shown up in full glory.

Over at the White Hart Tavern, Daisy O'Danny was doing her little set of song parodies, one of which being "Aversion" (an "Excursion Round the Bay" parody). Another was a "Leave Her Johnny, Leave Her" parody she performed with members of the Hooligans "Leave Me (Loving me is like...)". 

The Hooligans of course were next at the White Hart Tavern with their 'event' set. It began with "Streams of Whiskey" and then with "Finnegans' Wake" (where the audience is encouraged to clap along with the chorus but stop clapping at the end of the chorus). And of course there's the Wildest Rover Singing Competition, where three sections of the audience are invited to take turns singing the chorus of "Wild Rover".

Defending champions the Freaks on the Left went first, followed by the Relatively Normal People on the Right and the Mighty Mighty Pie Wedge. The Mighty Mighty Pie Wedge did not let the rain stop them from standing and singing. In the end, the Coveted Worst Place Award went to the Freaks on the Left, the Participation Award went to the Mighty Mighty Pie Wedge, and the Wildest Rover Trophy went to the Mighty Mighty Pie Wedge.

What followed next was "Rattlin Bog", where the Hooligans challenge each other to see who can get through each progression of new words added without messing up. New words are added after "bed from a feather", with the first being a suggestion from the audience and the rest being made by the Hooligans themselves. This time, an audience member suggested 'Tree'. 

The Hooligans immediately knew that this was going to be a disaster. "They know what they're doing," John Kelso remarked. The song begins and ends with the tree, and putting a tree in the middle of it can only lead to confusion. Regardless, they went on with it, leading to extras of the original lyrics (branches, limbs, and such). The confusion began, and in the end no one won the Rattlin Bog medal because the extra trees and limbs and nest and bird were too much. 

Next was Pub Sing, which began with "Health to the Company". Some may ask why everyone enthusiastically shouts "CHEESE!" in the later verse of the Vagabonds' rendition of "A Beggin I Will Go", but a lot of people like cheese, I guess. The Brocades made their return with the Isley Brothers inspired arrangement of "Chandler's Wife".  After the Host Toast, the Adventurers took the stage with "Wellerman".

Two of the Brocades (calling themselves Dark and Stormy) sang "Twiddles", Janie Meneely's classic about the other side of the 'girl in every port' story. The entire ensemble got together for "Whiskey Johnny". Next was the Weyward Sisters with "A Stor a Ghra", followed by the Vagabonds with "Three Drunken Maidens". Tavern Twins Nell Quickly and Alys Overdun sang "Beer, Beer, Beer", the song about the renowned brewer Charlie Mopps. And then the Adventurers were next with "Row Me Bully Boys".

Millie, by now having figured out the meaning of "Nancy Whiskey" (it's a drink and the person in the song is pretending it's a person) performed that song. And then Nan Rash got the different sections of the White Hart Tavern to do three different claps for "The Hunting of the Wren". Afterward, it was time for the ensemble to lead in the dance for "Step It Out Mary". 

Jack Ripley then performed his version of "Old Dunn Cow" which, as usual, has a brief digression into another song in the last verse before getting back on track. Then Idle Fancies was next with "Johnny Sands". The Weyward Sisters sang of the ways of a most unconventional girl, "Weyward Daughter". And then Ty, Follentine, Sir Richard and John the intern joined together for a wonderful acapella rendition of "Northwest Passage".

Now that we were in the softer portions, The Adventurers were next with "Heather on the Hill". Pub Sing concluded with "Wild Mountain Thyme", and afterward the Jammer Clan did a quick encore with the tune "Kelburn Brewer".

And so, after chatting a bit with Millie, and then with Knuckles near the gate at the fountain, I then made my way home.

It's hard to believe there's only one weekend left this season. It still doesn't seem that long ago that Sir Richard was introducing new songs at Pub Sing on Opening Day. 

Nonetheless, Closing Weekend may be the most bittersweet weekend of the season, but I intend to be there for it. 

Sunday, October 5th, 2025 MDRF

Well, Sunday's weather was nice and sunny, though warmer than I was expecting. I had my MDRF sweatshirt on throughout the day, but rolled back the sleeves and needed some water at points.

In spite of that, it was an amazing day. After Opening Gate, I went to the fountain where Mustardseed, Knuckles, and Temperance Belowe were greeting the patrons. Temperance of course was observing carefully those who she thinks were having too much fun.

I then headed over to the Maypole where Hugh MacGregor and Millie were presenting the Entry Polls. The Morning Dance followed, and after the dance, the King gave his usual blessing "God Save the musicians of Revel Grove!", and then turned to the dancers. Fortune Blunt rushed from the musicians spot to the dancers, before the King said "God save the dancers of Revel Grove!". Master Ty, being both a musician and a dancer, is probably already double saved, as I noted later. 

Anyway, I soon moved on to the Lyric Stage for the Jacob D'Eustachio show. Our lead performer claimed that the "Lord of the Sword" was unavailable, so he (the barista who I'll call Jacob Barista, I guess) was there to perform a number of juggling bits. He started out showing he was able to continue juggling balls while having his sound checked and giving high fives, before moving on to other juggling tricks, as well as contact juggling and balancing with his hat. He kept a coffee theme going with the names of some of the tricks. After testing certain props (and then deciding to save them for later, our Jacob Barista brought out an increasing number of beer bottle shaped juggling clubs. 

For the last portions of the show, he got a volunteer from the audience to supply a drumbeat while he did a few silly bits and then juggled bouncing small balls. He finished up with knife juggling. This is his first weekend here at MDRF.

I stopped by the Bubble Cart and saw the Bubble Fairy's displays of Bubbles for a bit, and then headed over to the White Hart Tavern for the Langer's Ball's first set of the day. I showed up in time for "As I Roved Out" (which I'll repeat is a different song than the Hooligans' song of the same name, though there are story similarities). They followed it up with a whiskey song, "Break of Dawn" before moving on to a Langer's Ball original, "Cork Dry Gin" (with a different 'walks into a bar' joke before the last chorus). Next was a new one of theirs that they arranged too late to include on their newest CD/album ("Drinking Song Sing-a-Long", which includes "Break of Dawn", "Cork Dry Gin", and many of the songs from the later Sing-a-Long set), but is likely to be part of their next compilation, a mashup of "In Heaven There Is No Beer" and "Beer, Beer, Beer" where the renowned brewer Charlie Mopps (who didn't exactly invent beer but is still celebrated in song) helps to put a new twist on the former's premise. The Langer's Ball followed that up with "Sally MacLenanne". 

After "Leaving of Liverpool" (the sea song about a sailor leaving Liverpool for quite some time and thinking of his love he's leaving behind) came "Dirty Old Town" (about the complicated relationship one has with a town feeling the effects of industry). There was a whistle and guitar tune set in which Hannah was able to bring out an impressive number of notes, and then The Langer's Ball finished the set with another original, "Do It All Again".

In the pathways, Hugh MacGregor was doing the Pun Exchange, where Hugh and volunteers exchange puns. If one were to make a pun about, say, sailors or the sea, chances are Hugh will respond with puns related to the subject. 

The Hooligans performed their 12:00 set at the White Hart, with "Irish Rover" (their take on the tall tale of a large ship sailing from Ireland to New York with a ridiculously large cargo). The Hooligans' version has an ending where those 'three million bales of old nanny goats' tails' turn out to be useful, but the question remains as to why that was included in the cargo in the first place. Next came a few songs the Hooligans haven't performed in a while, the first being "Seek the Reaper" (a song inspired by the Pardoner's Tale in the Canterbury Tales, but with a bit less ambiguity than the original story if I recall correctly). Next, they performed the wonderful "Walk the Road Together", where all four of them sang individual verses. For a song they said they hadn't performed in a while it turned out very nice indeed.

Switching gears, they turned to a song inspired by the Troubles in Ireland, "Come Out Ye Black and Tans". They then switched gears again to a sort of love song as Patrick sang lead vocals on "The Price of Love". Afterward came "Macpherson's Rant", which the legendary poet writer Robert Burns based on the farewell statement of James MacPherson. The Hooligans concluded the set with "Over the Hills and Far Away". 

I then made my way over to the Fortune Stage, where Thomas Bodley and Heinrich Agrippa, our Hunters of the Unruly Dead, made their welcome return to Revel Grove.

 At this point, they performed the Tudor Mages show, focusing on mysticism and rituals of the Tudor era. After speaking of various methods of divination, astrology, and alchemy (and Agrippa stated that the Elixir of Life is more likely to be metaphorical than something literally life-extending), they moved on to spells involving necromancy and summoning. People back in those times actually wrote down rituals for summoning and/or controlling spirits, angels, and demons, many of which with insanely specific ingredients and requirements. Of course they didn't actually have all these ingredients so the spell for summoning an archangel (and the other spells mentioned) would not actually work, but perhaps that's for the best.

From there, I made my way to the Boar's Head Tavern for Reveler's Roulette. I have to echo what Donald Jones and others have said - if you haven't seen it, you're missing out on an amazing variety show filled with incredible talent. 

And Sunday's Reveler's Roulette was an especially incredible show from start to finish. First off, we had Hugh MacGregor joining with Margery Malagrave for their rendition of the Irish classic, "Star of the County Down". And then Dottie Grimm sang a lovely version of "Sarah's Song" (a song recommended to her by her friend Rebecca "Beck" Marshall). We then followed with Arnold Connor of A Klasse Akte performing an original song, the lovely ballad "Your Eyes". Afterward came Mara Starfire with her rendition of a song I first heard during the softer portions of Pub Sing many, many years ago, "The Dutchman".

Afterward, Ginger O'Danny, Connie O'Danny, Master Ty, Nan Rash, Dottie Grimm, and Patrick of the Hooligans got together for an incredible group number, "The Chain". Words can't describe just how amazing this was, and when it was finished, it got a great reaction from the audience. There was a huge amount of applause and cheers.

Anyway, when a big number like that happens, it's a tough one to follow, so usually this would be where we move to the softer, sentimental songs. And such was the case here, where Hugh MacGregor arrived to perform the classic parting song, "The Parting Glass", but with a twist: On this occasion, he performed it in Scots-Gaelic, resulting in "Parting Glass" as we have likely never heard it before. All in all, this was a truly amazing show, and I'm glad I was there for it.

After giving my compliments, I made my way over to the Lyric Stage, where Dinty the Moor was in the midst of his show involving all sorts of strange card tricks. I arrived in the middle of a trick where Dinty claimed that this was a mind reader convention and that everyone but the volunteer was a mind reader. Were we seeing the card the volunteer picked?

There was also a bit about English duels, and Dinty worked a card trick into that one as well. 

I then arrived at the Maypole where Thomas Bodley was gathering a group together for the Ghost Tour. We had a pre tour chat about the history of the Maypole (I was there the day the Maypole was found lying on its side one morning), and also theories about the disappearance of the Kissing Bridge. I repeated a few I'd heard, and thought the one he'd be the most interested in was the one about water from the Cursing Well (outside the Museum of Unnatural History) finding its way to the pond and cursing the bridge. 

Soon, the Ghost Tour itself began with a ghost story involving the Maypole and the ghost that'd been sighted there. The tour moved on to the Coin Pavilion, where Bodley gave the history of the coin press machine, and what it was used for before the coin press. The Lyric Stage has a number of ghost stories attached to it, but the ghostly organist is likely not the cause of unnatural sensations toward the rear of the audience (that ghost is more likely to haunt the stage in Bodley's opinion), but there may be other ghosts there with their sad backstory. The tour continued with stops at Thor's Hammer and the Nut booth adjacent to it, the vicinity of the Market Stage, and the former site of the Kissing Bridge. Both the bridge and the pond have some ghastly stories attached to it, and just where did the skulls at the Museum of Unnatural History come from?

We then moved to the vicinity of the Chapel and the Dragon Inn, where Bodley told of a number of stories, explaining why the Rogues (and other bands) don't play at the Dragon Inn anymore (in more recent years, the pipe bands and such have moved on to the Market Stage and the Boar's Head), and also how the privies near the Joust Arena are the LEAST popular privies in the Village (due to the sun and all), as well as telling a ghastly story about the big privy with a very good moral to it. We also were told that the Chapel Graveyard is a small one, and most people around there are not rich enough or pious enough to be buried in a churchyard like that. 

Eventually, we were led to the most haunted place in the village, the Boardwalk and Mary's Dale Way, beyond which are the swamps possibly haunted by the ghosts of those who couldn't afford to be buried in the churchyard. Later in the day, the Danse Macabre parade will sing and dance for the spirits. Bodley concluded with a few more stories from Revel Grove's history, such as a possible sighting of the ghost of Eleanor Yaxley (who passed on some time around 1520 in a strange sheep shearing accident; Mayor Francis Yaxley married Imogen a year or so after Imogen's other romantic interest, Peter Podgy, left the village under strange circumstances and never returned). After Millie Appleton (who bears a resemblance to Imogen) sighted the ghost, Bodley's friend Heinrich Agrippa investigated. As far as Bodley knows, this ghost hasn't appeared in Revel Grove since then, and may have either moved on to the next life or followed the Yaxleys to their activities in Europe. 

Over on Kenwood Lane, Benison Bardwell did a wonderful set mixing humorous songs with some love songs and philosophical songs. He started with his rendition of the darkly comedic "Irish Ballad", that song about a maid who didn't have her family long, and the bizarre fates that befell each of them. And then there was "Unfortunate Man", the story of the lawyer Mr. Clay who was not very competent as a lawyer and was easily deceived by the wealthy old maid he married. And then there was "Elma Turl", which is a variation of the story told in "Johnny Be Fair". However, he does know some gentler love songs, such as "Red is the Rose".

He then followed with "The Door to the Garden", which celebrates the return of a wonderful garden that has returned to life, and the joy and wonder it brings. It's one of my personal favorites of his original songs, with lyrics that certainly resonate with me. Another original song of his that's a favorite followed, "My Heart Has a Mind of Its Own". We returned to the comedic with "La Dee Dah", a song about a man who had a most unusual predicament for much of his life. He closed the set with a heartfelt song wishing everyone well.

I soon made my way over to the Gatehouse Stage, in time for the latter portion of the Bad Idea Variety Show, so named because Doug Stafford does a lot of things in the show that are a bad idea to try, but does so anyway for the purposes of entertainment. Such as doing a straitjacket escape stunt while on a see saw board, or combining juggling shocky sticks with a fantasy TV and movie inspired disc. 

I stayed at the Gatehouse for Village Court, which as usual had Justice of the Peace Reginald Waldegrave presiding as judge, with Bailiff George Grimm and Margery Malagrave, Professional Mourner and petty constable as the lawyers arguing the case, Hugh MacGregor as the stenographer, and Fortune Blunt as the bard providing the Village Court jingle and the occasional other musical cues. 

Sunday's Village Court began with Hugh MacGregor writing "Reggie Rocks" on his chalkboard. The crowd chanted it, and Justice of the Peace Reginald Waldegrave thought it was spontaneous until he saw the chalkboard.

In any case, Case one involved a young person who admitted to destroying a tree in order to support his family (of beads in his pocket). Margery Malagrave took the defense, saying that her client bravely fought the tree to protect the family. When further questioned, the client said it was a small shin height tree, and the client drop kicked it. Grimm on the opposing side said he was appalled by this disrespect, but Margery said her client did it for the good of all. In the end, the client was found guilty.

Case two had a client admitting to the citation that she was using questionable language and insulting Grimm's pencil (and Grimm insisted that it is not a euphemism). Grimm said that the pencil was large enough to write citations. Margery, meanwhile, said that the event in question happened during the excitement early in the day and there was so much noise children couldn't hear anything. In the end, the lady went free.

Case three involved a pink hatted woman who was cited for being in possession of an unlicensed velociraptor (who was not present). Margery (in her role as a petty constable) wrote the citation in question, fearing the client brought the raptor she was riding to cause trouble. (At this point, I realized that the client was likely riding one of those inflatable velociraptors I've occasionally seeing people riding, which also explained the raptor's absence). In the end, the client was found guilty of dino sore.

Since others have brought it up, I'll admit that we had a few unusually noisy people in the crowd, but Reginald Waldegrave did a great job at doing his duties as a judge and maintaining order, and thankfully things went pretty smoothly after the third case. 

Case 4 involved a young girl charging someone for throwing a banana peel on the ground. Though (as Bailiff Grimm noted) this is a classic comedy bit, some would say that it's making a mess. The case quickly became about whether it's right or wrong to do such a thing, with Grimm taking the position that it's funny. He then did an imitation of the classic comedy pratfall. But in the end, the young girl won the case against banana peels.

Case 5 had a woman citing the storyline for not being resolved. In particular, she wanted to know how the whole 'Sir Richard Mondes claims Hugh MacGregor is squatting in his house' storyline turned out, but basically that storyline (and Reginald's engagement to Millie and the offer he'd received from the Duke of Norfolk) were left unresolved after the Royal Welcome and not brought up again in any shows. 

Grimm took the side of resolution, saying "It's not about what the conclusion is. It's about the fact that we deserve a conclusion." He said that the story about the Mayor's house has been going on since 1535 and it's now 1539 so we've been dealing with it for four years.

 (Well, as Revel Grove Historian, I'd like to note that while Hugh MacGregor and Sir Richard Mondes had their disputes in 1534 and 1536, Sir Richard Mondes was Mayor then and the timeline of just when the house in question was built probably plays a factor into it. When Sir Richard Mondes moved to bigger projects in 1537, Hugh MacGregor became Mayor and probably regardless of whose land the house was built on, felt it was okay to move in to that house). 

Margery, meanwhile, was on the side of ambiguity, asking who remembers the events of the Royal Welcome (besides the Historian of Revel Grove). She represented those who just came to drink and be merry and such. It was then that Reginald Waldegrave turned to the audience/jury for their verdict. Is the audience invested in the storyline, or are they just here for beer and a good time? (I think most people reading this probably guessed which way I decided). 

The verdict? Reginald said "You the people, by a narrow majority, are invested in the story and want to know how it ends." At this point, Hugh MacGregor wrote on his chalkboard "Is this canon?" 

We moved to Case 6 (which Hugh MacGregor referred to on his chalkboard as "One does not simply walk into Village Court"). The plaintiff claimed that Faramir stole his wardrobe. It was noted by both Hugh and Margery that Boromir was Denethor's favorite, and that might have played a factor in the motivation. In the end, I think the case was found in favor of the plaintiff. 

And so Village Court concluded, and I think all in all it was still a fun session, with the second half going a lot smoother than the first. The nod to classic slapstick, the unexpected bringing up of the storyline, and the Faramir cases were all very entertaining cases indeed.

I caught up with the later Ghost Tour as Bodley was telling visitors about the Feywood and the beliefs about the fey. The tour then went down the hill to the vicinity of the ship, which Bodley believes might have been the ship described in song and story, the Dark Lady. And then he led the tour to Mary's Dale Way and the most haunted place in the village. 

Some time afterward, the Village Ensemble, featuring Sir Richard Mondes, Nell Quickly, the Vagabonds, the Revel Grove Dance Company, and more arrived for the Dance Macabre parade, where they calm and welcome the spirits haunting the place with the most welcoming song they know, "Come and Be Welcome". The King himself joined the parade, which moved from the area near the Wall past Skapa Leather, Half Moon Cloaks, Crosewls Magic Shop, Little Empire, Wayward Designs, Ancient Divination, Iron Antler Forge, and more until it reached the food area near the Royal Pavilion. 

After the conclusion of the Parade, the King announced that he has chosen his new bride, Anna of Cleves, and that there's still more to do this day, mentioning the STREETSpeare scene at the Pavilion in a few minutes, the Joust, and of course Pub Sing at 5:45. 

I made my way back to the White Hart Tavern, and returned just as Rattlin Bog was beginning. I soon found out that in Sunday's Wildest Rover Singing Competition, the Worst Place Award went to the Freaks on the Left, the Participation Award went to the Relatively Normal People on the Right, and the Wildest Rover trophy went to the Relatively Normal People on the Right.

Anyway, inspired by Daisy O'Danny, Earl was the first new word added to the progression after 'bed from a feather'. From that point on, the Hooligans had to take turns adding new words to the progression and singing the progression and seeing if they can get it right. When they mess up - and they WILL mess up - the gong sounds. It continues until one is left in the Rattlin Bog competition.

The first new word added after 'Earl' was 'Feather', and when one adds an additional feather (or an additional next, branch, limb, etcetera), that's certainly going to make things difficult. From there, we got Beak and Tick before Matt was gonged, and tooth before Kelso was gonged. John Dickson Wakefield stated that he had the feeling that Patrick was going to be the last one, and was surprised when he got his progression right. Then Patrick was gonged, and John Dickson Wakefield was the last one remaining in the competition. However, he stumbled on the last progression (as this was a very difficult one), so the Rattlin Bog medal went into purgatory. 

Pub Sing followed soon after, with "Health to the Company". We then had the Adventurers with "Wellerman" (and some impressive low notes from John). Following, we had the Vagabonds with the upbeat "Old Black Rum". After the Host Toast came Idle Fancies with "Love and Freedom", an upbeat love song. 

We had a special treat afterward, as Margery Malagrave made her Pub Sing debut, inspired by a certain Hildegard's 'bardcore' version of "Pink Pony Inn". We moved into more traditional territory with Sir Richard Mondes and company performing the Irish classic (the shorter version, anyway), "Paddy Murphy". The Weyward Sisters were next with "Irish Eyes". This was followed by Alys Overdun who performed a version of the traditional "Spanish Lady" with some new lyrics. And then it was time for Last Call.

Columbina made her return to Pub Sing with "Three Jolly Coachmen", or as some know it, "Come landlord fill the flowing bowl until it doth run over". Next up was Bardwin the Bard with "Excursion Around the Bay", about a couple's trip around the bay where something goes wrong. Nan Rash got the pub clapping with "Cuckoo Bird", followed by the Weyward Sisters with their version of "Cuckoo's Nest". 

John took the stage for a short joke, only to remain on stage with the Vagabonds as they sang "One Last Drink". And then the Adventurers were next with "Yo Ho Ho", and the whole Ensemble got together for "Westering Home". 

After that, it was time for the softer and slower songs. Nell Quickly had a new song, a happy love song this time, "Claddagh Walk". For the penultimate song, the Vagabonds returned for that emotional song of parting, "Bring on the Starlight". There weren't many dry eyes in the house at that one. I found myself teary mid-way through, as did a great many. 

Pub Sing concluded with "Wild Mountain Thyme", and then Nell Quickly's well-wishes and advice (to pick up bits of trash, and to drink plenty of water), and inviting us to return again next time for another edition of Pub Sing.

I then made my way to the Main Gate, seeing Temperance Belowe and her sign along the way. I met with Gwendolyn, Knuckles, and Captain Nobeard at the fountain as they made their farewells. Temperance Belowe showed up again, telling the crowd that the day is over and if they're still seeking fun they'd best find it elsewhere. 

Hugh MacGregor showed me the results of the Exit Poll, involving various animals including a famous one. It was a fun little bit.

After exchanging farewells, I made my way through the gate as the moon was shining over the field at the entrance and the parking lot. 

Well, the Seventh Weekend is over now, and it had a lot of wonderful, amazing moments. There was laughter, tears, and just plain awesome moments. It's hard to believe that there's only two weekends left of the season now. But I'm looking forward to being there for them. Until then, this is my recap for the Seventh Weekend.

Sunday, September 28th, 2025 MDRF Sixth Weekend

Sunday of the Sixth Weekend of the 2025 season was the Sunday of Romance Weekend. The weather was mostly sunny, and no raining except the reigning of the king. Before the official start to the Gate Show, Hugh, Millie, Reginald Waldegrave and Bailiff Grimm gathered at the area atop the gate, and citations were tossed at the Vagabonds below. 

Soon, the King and the Royal Court arrived, and Millie was overzealous in introducing their guest, Hans Holbein, the King's painter. It was announced that Hans Holbein would be presenting portraits of possible brides for the king at the Gatehouse Stage. Soon after that, the King made his speech, and the cannon sounded.

Once inside the gate, the Bayfield Brass could be heard welcoming people with their set at the Gatehouse Stage. I then made my way to the Maypole area where Hugh MacGregor, Beatrice, and Millie had Entry Polls with questions fitting the theme of Romance Weekend. One of the polls was about possible replacements for the Kissing Bridge. 

After the Morning Dance, I wandered the village, finding myself at Mary's Dale Way outside Little Empire, the gaming store. Digger Plotts was outside, playing his shovel guitar, and telling the story of the origin of the shovel guitar. 

I also chatted with Louie at Little Empire and mentioned the chalkboard 'dice jail' joke at Village Court, which I knew Louie would appreciate since 'dice jails' are among the gaming supplies Little Empire sells. 

At the Cottage Stage, Lady Prudence performed her first set of the day. Of course she has songs for every occasion, with a wide variety of subjects. One that fit with Romance Weekend is "Courting Song". A song of travel and adventure is "Rambling Rover", for which she wrote a few new verses. Then there was "Green Fields of France", a sad song about the consequences of war. On a lighter note was the parody song, "Burn the Bodice". And then, to show that Eric Bogle (writer of sad war songs such as the above-mentioned "Green Fields of France") also wrote other types of songs, she gave us "The Sound of Singing".

I arrived at the White Hart Tavern in the midst of the Langer's Ball set, where a fast paced tune set was being played. Afterwards came "Rivers Run Free", one of the slower songs The Langer's Ball sometimes performs to show that yes, they do know a few softer and slower songs. They followed it up with "Do It All Again", a fast-paced Langer's Ball original.

In the pathways not far from the Royal Fox Theatre, I encountered Hugh MacGregor and George Grimm. Apparently, Hugh MacGregor, as current Mayor of Revel Grove, is concerned about his physical fitness and has asked George Grimm to help him. Moll Frith of the Vagabonds showed up to challenge Hugh to an arm-wrestling contest, which Frith won. Hugh then attempted squatting a few times. 

Then Hugh was carried through Kenwood Lane by Grimm and Frith. Those seeing this part out of context probably were wondering why this was happening, but it apparently was meant to help Hugh stretch. At one point to me, it seemed like tug-of-war with Hugh as the rope. Eventually, they settled at the other end of Kenwood Lane near the fruit stand. 

I caught the tail end of Les S. Moore's 'Oops! All Danger' show at the Gatehouse, where he had the banner out about how the audience prefers safety precautions and demonstrated a few safety precautions with a volunteer before doing one more 'held flowers being whipped' bit.

In the pathway near the Maypole, Kristin Rebecca performed both harp and vocals. She performed a beautiful version of the 'Two Sisters' song (a dark story about the terrible deed one sister does to the other, and how it eventually comes back to haunt her), as well as a few traditional tunes. 

Back at the Gatehouse Stage, Bard City performed their set, and they did their song about problem players (the sort who lack awareness of how much their in-game actions annoy the DM and other players), "Why Does No One Want to Play". Next was "Friendship", about all the spoils that adventuring parties obtain from their exploring dungeons and defeating various monsters, and the power of friendship. Daisy O'Danny helped them out a bit with a technical issue, and as a reward was presented with a huge green rubber chicken that looked like a green cousin of her usual yellow rubber chicken sidekick Earl. After this guest spot concluded, Bard City sang their song about a wizard who decided to chill out and live on the coast. 

And then Bard City guitarist Onion took lead vocals on the song about what the protagonist believes is a mimic, but Varrick and the others in the band are not sure. This time, a volunteer rolled the giant inflatable 20-sided die, and it was 18 perception. Onion was therefore forced to confront the truth about the supposed mimic. 

Over at the Boar's Head, Reveler's Rulette began with Mal Rose's song dedicated to the Boar's Head, and the toast. And then either Lottie Grimm or Morta Weyward took the stage with the innocently titled song "Rosemary" whose storyline is a lot darker than the title would indicate (it's about a woman whose man runs off with another woman, and the dark consequences). Next was Mistress Anna with an enthuiastic song and dance with "Nothing You Can Take From Me". Lottie Grimm again took the stage, this time with a romantic song about senses from a well-known songwriter. Dottie Grimm was next with a song from much much farther back, the traditional Scottish folk song "Black is the Colour of My True Love's Hair". 

Nan Rash, by now well-known for her big up-tempo songs, sang a song fitting for Romance Weekend, "He's Fine", with lyrics modified to reference Revel Grove and Tiddington. And then Cecily Payne was next with "When You Come Home Again."

I returned to the Gatehouse Stage just as Shakespeare Approves was finishing the 'Macbeth: Death by Fluffy Kittens' show. It's one of many Shakespeare Approves comedic takes on Shakespeare plays, complete with a few audience volunteers directed by Your Friendly Neighborhood Shakespeare.

Next on the Gatehouse Stage was Bard City. They started the set with the dramatic enactment of what happens when "A Level Three Party Accidentally Breaks Into the Lair of a Beholder", done in a manner that makes it clear even to those who've never heard of a Beholder that a Beholder can be pretty terrifying, especially to those who aren't ready to deal with it. Afterward was "Roll That Die" - unfortunately, I didn't take note of the results this time, but if I recall correctly, the caper worked but the romance ended in failure. 

Next up was a song about how some players get overly cautious, possibly after venturing into one trap-filled dungeon too many designed by DMs who rely on traps too much, titled "Check For Traps". After two more or less laid back songs, the first being "Humble Fisherman" and the second about a necromancer, Bard City moved on to the moral quandaries that can arise after parties who fail perception checks rush into action not understanding the situation with "Are We the Bad Guys?". 

Back at the White Hart Tavern, Poehemia performed traditional songs such as "Some Say the Devil is Dead" and "Paddy Murphy", before moving on to "Drunken Lullabies", a song about the Irish conflicts and how  people find themselves stuck in a seemingly endless cycle. Next up was "Life of a Privateer", a song inspired by conflicts on another continent entirely. Next up was "Leaving of Liverpool" followed by a version of "Drunken Sailor" that included a big drum solo towards the end, and then "Tell Me Ma".

Over at the Reveler's Bower, the funny and informative Midwife Crisis show told of a midwife's role and how pregnancy and childbirth was handled centuries ago. 

I stayed for the STREETSpeare scene from Marriage a la Mode, where Melantha is dealing with her arranged marriage to Palamede. It's part of the set of five STREETSpeares presented by the Company of Women.

Next was Lady Prudence's final set for this MDRF season. We started with a dance tune played on a pipe, with the audience invited to clap along. Then we had the moving and sad "Bonny Portmore", lamenting the loss of a forest. After a light and cheerful song about food, there was time for two more songs. One was a farewell song, "Merry Meet Again". As a bonus, we had the loud and proud "My Mother's Savage Daughter", about a girl's not caring what people think of her eccentricities ("I will not cut my hair, I will not lower my voice"). 

I then made my way to the Gatehouse Stage, in time to see Bard City performing "Friendship", followed by "Thank the gods that we have a cleric", about how a cleric can be very useful indeed in saving members of the party from messes that could have brought their adventure to an abrupt end. 

Next on the Gatehouse Stage was Village Court. The first case was a man cited for seeking crime and punishment. Bailiff Grimm stated that he himself seeks crime and dispenses punishment. Margery, meanwhile, had issues with the man stating her court title incorrectly (for the record, in Village Court and such, Margery Malagrave is acting as a petty constable. And not everything a petty constable does is pretty).

After Margery stated her objections despite the mistaken version of her title possibly being intended to be a compliment, the audience/jury was invited to rule with the thumbs up/thumbs down. In the end, the citation stood.

Case Two involved Mistress Day of the Revel Grove Dance Company arguing a citation given by Margery Malagrave AND picking Margery to defend her. This meant that Margery had to argue against her own citation, and state that she was jealous of Mistress Day's talents.

Case Three involved a young woman putting rats on trial for spreading the plague. Grimm cited a number of tragic events related to the plage. Margery said that the rats are not at fault and don't mean to be diseased. They don't know what they're doing and are not intentionally spreading the plague. The case was decided in favor of the rats.

Case 4 involved a young woman being cited for being dashedly handsome. Margery theorized that the client was taking a compliment meant for a certain man in her life, while Grimm stated the citation was written for her. In the end, the couple were both found too attractive.

Case 5 had a man saying "I came here to drink but my friends insisted I see Shakespeare". Grimm argued on the side of the drinker, while Margery argued on the side of Shakespeare, stating that Shakespeare is the through line of the Renaissance. Well, different people come for different reasons, I suppose. This was a close one, if I recall correctly, as some (such as myself) voted in favor of Shakespeare, while others voted that the Bard is overrated.

Case 6 featured a character who Hugh MacGregor's chalkboard referred to as 'Serious Satyr' saying Fortune Blunt was creating too much joy for court. Margery Malagrave defended the satyr, while Bailiff Grimm was not only defending Fortune Blunt, but Village Court itself. 

"This is no serious court. This is a court of silliness. This is a court of frivolity. This is a court of whimsy.", Grimm said. In the end, the jury/audience voted nearly unanimously in favor of silliness, frivolity and whimsy. This would include me, as I certainly believe that the silliness, frivolity and whimsy is a great part of the fun of Village Court.

Well, they were running low on time but it's pretty hard to top a case where the show basically defended its own whimsy, so that was the last case for Sunday's edition of what Reginald Waldegrave always refers to as "the Michaelmas session of Village Court". Reginald then noted that it seemed to be Michaelmas every day.

(This of course leads me to wonder: The 19 days of Michaelmas? Would that make for a good song?)

Over at the Lyric Stage, the Revel Grove Dance Company were performing Prospero's masque from the Tempest as part of the grand STREETSpeare project. We also had Mistress Day give the classic "Our revels now have ended" speech, which at MDRF is usually saved for the last day of the season. 

Over at the Bubble Cart, a certain Bubble Fairy was celebrating Anna of Cleves' being chosen as the next Queen of England by demonstrating some bubble magic to Anna and Amalia of Cleves. Said Bubble Fairy noted that no, those bubbles won't encircle anyone and carry them off because Glinda hasn't told her how to make that work. 

Back at the Gatehouse Stage, Shakespeare Approves - Your Friendly, Neighbourhood Shakespeare was in action as Your Friendly Neighborhood Shakespeare (after the warmup bit where he makes a few jokes related to nursery rhymes) performed "Romeo and Juliet: Flying Implement of Doom edition" with the help of some audience volunteers. The Flying Implement of Doom is a silly bit of deus ex machina (or perhaps in this case Diabolus Ex Machina) substituting for certain items that in the original play spelled doom for Mercutio, Tybalt, the stray letter, and ultimately Romeo and Juliet. Your Friendly Neighborhood Shakespeare directs the audience volunteers while commenting along the way about the combination of poor decisions and communication failures that lead to the play's ending in this comedic retelling of Shakespeare's classic.

On the way to the White Hart, I chatted with Gwendolyn of The Gwendolyn Show, mentioning that I was glad that I saw the 'all the fairy tales mixed into one' show last weekend before I saw Village Court later that day, since Gwendolyn's Village Court appearance revolved around an unanswered question from that show and therefore the show was still fresh in my mind. This helped me to understand and appreciate that case better.

Pub Sing began with "Health to the Company" and the traditional toasting. The Adventurers were next with the audience participation favorite, "Roll the Old Chariot Along". They were followed by Idle Fancies with "Love and Freedom". After the Host Toast with special guest host John, we had the welcome return of the Brocades with an Isley Brothers-inspired arrangement of "Chandler's Wife".  

John then joined the other hosts for "Country Life". This was followed by the Vagabonds with "Oak and Ash and Thorn". After that upbeat uptempo song, the Weyward Sisters were next with the tall tale of "The Widow and the Devil". Sir Richard Mondes and company were next with the traditional Celtic song, "Two Recruitin' Sergeants", shortly before Last Call.

John then took the stage, performing a spirited rendition of "Tom Paine's Bones" (a song about a conflict between a writer/philosopher and a king from another era). Others in the Ensemble joined in on the harmonies, creating an amazing experience. We then moved to something completely different with Jack Ripley and the Ripley Rumba dance, and then moved on to something completely different with Idle Fancies and "Johnny Sands".

The Vagabonds were next, as Nan Rash sang lead vocals on "Courtin in the Kitchen" (which fits in with Romance Weekend as it's about an attempt at romance that goes terribly wrong). Next up the Tavern Twins Nell Quickly and Alys Overdun performed "Beer, Beer, Beer", the song that erroneously credits Charlie Mopps for the invention of beer. The Adventurers performed the sea shanty "Row Me Bully Boys", and were followed by the Weyward Sisters with "Mile Magnificent", an upbeat song that the Weyward Sisters haven't performed in a while.

As Pub Sing moved into the slower and softer portion, the Vagabonds took the stage to perform another song appropriate for Romance Weekend, "The Keys to Canterbury". Next up was Alys Overdun with a song about a lady whose love went out to sea and has yet to be heard from again, "The Boatman". And Pub Sing concluded with "Wild Mountain Thyme".

On the way to the Main Gate, I spoke with Beef Jerky Guy about the cosplayers we saw today. Not only were there a large amount of Lord Farquaads, but it seems most of the more popular Shrek characters have been cosplayed. We're still puzzling over how Lord Farquaad became such a trend. 

I also saw the Romance Weekend themed Exit Poll from Hugh MacGregor along the way, as various ensemble members bid us farewell until next time.

Well, it's hard to believe, but weekend six of the 2025 season is already behind us. However, we still have three more weekends to look forward to, where we'll be seeing sämäs, Hilby, Puke and Snot, the Bad Idea Variety Show, Temperance Belowe, and the Hunters of the Unruly Dead. Until then, this concludes my recap for Sunday of Romance Weekend.

MDRF Fourth Weekend Sunday 2025

Well, Sunday of the Fourth Weekend of the 2025 MDRF season had okay weather, though I made sure to stay hydrated. As far as cosplayers go, we had a few Luffys, Lord Farquads, and two Jack Sparrows, and at least one Baelin (the fisherman from the popular Epic NPC Man series). 

After Opening Gate, I made my way to the area near the Maypole and saw the Pirate Weekend themed Entry Polls from Hugh MacGregor, Beatrice, and Millie. I also spoke with Bailiff George Grimm, who had his eyesight back and was little the worse for wear from yesterday's Village Court cases.

The musicians were assembled for their pre-Morning Dance welcoming tunes. They were joined by a few musicians from the Rowdy Bardlings, and also Wren the Hype Fairy. Wren, being a dance enthusiast, soon found common ground with members of the Revel Grove Dance Company, and Wren and Anna danced together during the pre-Morning Dance. Then the King arrived and it was time for the usual Morning Dance.

At the Globe Theatre stage, the Crimson Pirates began their 10:30 am set with "Johnny Jump Up", followed by "Saucy Sailor". Flora sang lead on "Billy the Squid", the story of an undersea outlaw that "took from the selfish and gave to the shellfish". After "Pump Shanty" and "Star of the County Down" came "Fire Marengo" with its audience participation sound effects. The set concluded with "Lighthouse", a longtime favorite at MDRF.

 The London Broil Show made a welcome return to the Royal Fox Theatre this weekend, showing their three-person juggling skills. We had some unicorn and pirate inspired juggling patterns, and "The Turbo" (a fast paced juggling pattern with quick movements) provided a challenge. Most of these involved nine clubs, but then they introduced a tenth club - the legendary Golden Club which, according to them, has never been dropped (just roll with it on that one). As they like to do something a bit dangerous for their show finales, this time they did some machete juggling.

At the Cottage Stage, Sage O'Silver and her colleague M'Gold performed as the Whyrates, a pirate-themed show largely aimed at the youngsters. They state that they're not the scary type of pirates, and even have a song "What do you do with a scary pirate?" to the tune of "Drunken Sailor". 

I then made my way to the Blackfriars Stage, where Barely Balanced performed their show. They performed a number of impressive balancing stunts, including one where Large balanced a ladder that Medium climbed. Then Medium did knife juggling balancing on the ladder. And then a whole bunch of other crazy balancing stunts.

Over at the Boar's Head Tavern, The Rowdy Bardlings began their set with "Shout at the Devil Down Below". After "Wellerman" (a song that's become very popular starting in 2021) came "Northwest Passage" followed by "Lover's Wreck" (a song about a privateer's heartbreak). Another love-themed song of sorts was "Rose Tattoo", and the Rowdy Bardlings did a great rendition of this song.

Next up at the Boar's Head was Bone & String, who began with their intro and "Calling on Song". They continued with "One More Day" (a song about sailors celebrating the conclusion of a voyage). Afterward came "Herring Bay", a Bone & String original about a 'bay within a bay'. Then came another Bone & String original, "W(h)ining Can Save Your Life", a fun song about wine. A shorter, three verse version of "All the Pirates" followed, telling the stories of Jean Lafitte, Edward Teach, and Francois L'onaisse. (Since each verse tells the story of a different pirate, the number of verses, and which verses are sung, can vary each time). 

Next at the Boar's Head Tavern was Reveler's Roulette, which began with Mal Rose, her song dedicated to the Boar's Head Tavern, and the opening toast. Then Cecily and Arnold of Cakes & Ale/Casks and Flasks (and related A Klasse Akte shows) showed up to perform "We're Here to Drink the Whiskey". Afterward, John/Captain Red Beans showed up to perform a moving rendition of "Tom Paine's Bones". Dottie Grimm sang us the story of "Colleen", and then Gifty and Day from the Revel Grove Dance Company joined together as Midnight Hour to perform "Pale Pale Moon" (with a call and response section). Cecily Payne took the stage with another story song, "Tale of the Shadow", and then Ty, John, Sir Richard and Follentine Hilles joined together for a wondeful acapella version of "Northwest Passage." 

I saw a bit of Adam Crack's whip show at Blackfriars Stage. There, with the assistance of Danger Potato, he whipped a cheeto off the potato. He also did a lot of fast whip cracking, and gave some whip physics explaining why whips make the sound that they do.

Back at the Boar's Head Tavern, Bone & String began their next set with "Come In", before following with their own spin on "Nancy Whiskey" (a very versatile song that works well sung in many different tempos and arrangements). Afterward came their Eastern Shore themed version of "A Hundred Years Ago". After "Rare Old Mountain Dew" came "Beer Beer Beer" (the song that gives Charlie Mopps credit for something he really didn't do). After "South Australia" came "Privateers Just Have Permission", a song about the difference between pirates and privateers.

Over at the Gatehouse Stage, I saw Captain Nobeard's Menagerie of Mythical Beasts and Magical Creatures, where he shared with us his versions of legendary creatures such as a griffin, a phoenix, a dragon, and a basilisk. The latter had to be kept in a box (and apparently we really don't want to know just how it was caught in the first place), given the catastrophic results of the basilisk's gaze. Captain Nobeard explained throughout how the versions of the creatures profiled here differ from many popular depictions. 

I stayed for the STREETSpeare of Comedy of Errors Act III scene 1, involving Antipholus of Ephesus and a goldsmith, and a locked door.

The Rowdy Bardlings were at the White Hart Tavern, performing some of their sailing songs, while Wren the Hype Fairy danced in the aisles with some enthusiastic volunteers. A reprise of "Rose Tattoo" was followed by their take on "Northwest Passage". Then came "Barretts Privateers", the classic about an ill-fated privateer expedition. Their take on "Drunken Sailor" (with a few verses that dare to go against the usual syllable scheme) followed.

I arrived at the Gatehouse Stage in time to see the Crimson Pirates performing "Golden Vanity", the song about a cabin boy who volunteers to help the captain sink an enemy ship, only for the captain to renege on his deal. Afterward came "Day of the Clipper", followed by "Toadfish" (a Janie Meneely song inspired by a fishing tournament). After "Ten Thousand Miles Away" and "Whiskey in the Jar", the set concluded with the MDRF favorite, "Lighthouse".

I stayed for Village Court. Case One had Margery's client with a child and a toy sword. The plaintiff was found not guilty. 

Case Two involved a young lady cited for being too radiantly beautiful. Margery Malagrave, was the defense, but Bailiff Grimm said that beauty can be distracting. In the end, the client was found not guilty. 

Case Three, a person from the guest services pavilion sued Fortune Blunt. There was also some thing about a spider. In any case, Fortune Blunt won the case. Case four involved a sword in the box left on flora and Case 5 involved sassbackery toward an official.

Case 6 involved not obeying the speed limit, which confused Margery Malagrave as she hasn't seen any speed limit signs in Revel Grove. So the defendant was found not guilty. Case 7 involved a broken pipe on natal day. Apparently, the man broke his own pipe (Margery put 'pipe' in quotes). He was found not guilty.

Case 8 had a girl cited for radiant beauty, who claimed she was told by Reginald Waldegrave to keep her light under a bushel. Margery did an impressive fainting bit. The client was found attractive.

Case 9 had a man arriving with a whole stack of citations both from this season and the previous season that he wanted dismissed. Grimm was the one chosen to defend him, and said the man was being harassed by citations. Margery said the man had broken laws over and over. In the end, the nine citations stood.

I made it to the Boar's Head Tavern for Bone & String's later set, or at least the final portion of it, which included their version of "Finnegan's Wake", plus "Santiana" (whose geography can be explained by the fact that the song is set some 90 years before a certain canal was constructed, hence sailors around the area had to sail around Cape Horn). There was also a rendition of "Heave Away". 

Afterward, I said my farewells to Bone & String and my hopes that they'll return to MDRF. I then made my way to the White Hart Tavern for The Hooligans' big 'event' set.

The Wildest Rover Singing Competition had defending champions the Freaks on the Left going first, followed by the Relatively Normal People on the Right and the Mighty Mighty Pie Wedge. The highly coveted Worst Place Award went to the Relatively Normal People on the Right, and the Participation Award went to the Freaks on the Left. There was some difficulty deciding the winner of the Wildest Rover trophy, so Patrick was chosen to decide it. He chose (against his better judgement) that the winner was the Mighty Mighty Pie Wedge.

Next up was Rattlin Bog, where after 'Bed from a feather', the Hooligans add new words to the progression and see which of them can make it all the way through the progression without messing up. When they mess up (and they WILL mess up), you hear the sound of the gong, and that person is eliminated. It keeps going until one is left, and if they can make it to the end of the last progression, they win the Rattlin Bog Medal.

This time, the first new word was 'Mike', followed by 'wench', 'maid', 'lady', 'boy' (John Kelso was gonged after this one), hand (John Dickson Wakefield was gonged after this one was added), ring (Patrick was gonged. Kelso noted at this point that each of them had only had one round before omitting or mixing up a line in the progression). So Matt was the last one remaining in the competition, and did the final progression with 'tree' (the song begins and ends with the tree - it doesn't have to make sense). 

Matt won, but the Hooligans weren't so sure. Did he omit something along the way? Well, a certain person who'd been taking notes and adding every new line to the progression claimed Matt had managed to get every new line. So in the end Matt was declared the winner, but it was close.

Next was Pub Sing. After "Health to the Company", Captain Jean Cabot was there with her "Pirate Says" game and a toast. Then the Adventurers took the stage with "Wellerman", followed by the Tavern Twins with "Whiskey in the Jar". Sir Richard Mondes and Nell Quickly did their host toast, before inviting special guests the Rowdy Bardlings to the stage. 

The Rowdy Bardlings performed "Streams of Whiskey", which certainly fit in with Pub Sing, followed by a dance reel in which Wren the Hype Fairy led in some dancing. Mal Rose sang lead on the Vagabonds' performance of "The Ballad of Anne Bonney". Next we had Jack Ripley with "Heave Away", followed by Idle Fancies with "Jackie Said to Nancy" (about how Nancy responds to Jackie returning from sea, with a twist at the end). 

The Weyward Sisters took the stage with "A Stor a Ghra", followed by the whole ensemble with "Yarmouth Town". Sir Richard Mondes then performed his rendition of "Mary Ellen Carter", a song about a crew salvaging a ship they refused to give up on. Then Bardwin the Bard sang "Excursion Around the Bay", about a couple's not so pleasant excursion. 

After Last Call, Jack Ripley performed "The Last Shanty", with added dance breaks. The Adventurers performed the ever popular "Donkey Riding", and then the ensemble got together for "Westering Home". Moil Frith sang lead on the Vagabonds' rendition of "Sarah". Then Sir Richard, Millie, and Alys Overdun performed a song they hadn't performed for a while, "Sailor's Prayer (I will not lie me down)". 

We were now in the sentimental portions of Pub Sing, so the Adventurers performed "Leave Her Johnny, Leave Her" for the first time this season. And Pub Sing, as usual, concluded with "Wild Mountain Thyme".

And so Pirate Weekend concludes. It's hard to believe that we're getting close to the halfway point of the season already. In any case, I'm looking forward to the Fifth Weekend, which unless I'm mistaken is Celtic Weekend.

MDRF Weekend Three Sunday

Sunday of the third weekend started off gloomy with some slight rain that became a slight sprinkle and was mostly gone before Opening Gate, but it became brighter as the day went on. 

Today it was decreed that there would be no procession to the gate by the Royal Court and the King would not be arriving on horseback. Sheriff Drake Mansworth informed those of us at the gate that the usual clearing of the path to make room was not necessary today. Instead, the King appeared at the gate with Hugh MacGregor, Beatrice, Millie, Justice of the Peace Reginald Waldegrave, and their guest the renowned painter Hans Holbein. 

Once inside the gate, I made my way past the muddy streets to the Maypole area. Daniel Greenwolf was advertising the Celtic Magic show. I chatted with him a bit, complimenting on how I was impressed by Daniel and Bella Greenwolf's performances, both at MDRF and last season at Delafaire (which they'll be at again following their run at MDRF). 

The Entry Polls from Hugh MacGregor, Beatrice, and Millie were Myth and Magic Weekend themed. One of the most notable is "The most magical creature in the village", with choices "toll troll", "unicorn", "Jack Ripley", and "The Hermit". All of those were good choices, in my opinion, though Millie and Beatrice noted we might not be seeing a toll troll due to the disappearance of the Kissing Bridge (more on that later). Within a short few minutes, Jack Ripley was leading in the poll (though later on in the day, he told me the unicorn was his closest competition.

The ground was wet, so I correctly assumed there would not be a Morning Dance this day. Nonetheless, the assembled musicians of Revel Grove were there playing the usual lively pre-Dance tune. Mistress Anna of the Revel Grove Dance Company confirmed that there would be no Morning Dance, but that didn't mean there wouldn't be a few smaller dances at some of the drier portions of the ground. Anna then demonstrated a few, and others of the Revel Grove Dance Company close to the Maypole also demonstrated a bit. 

In addition to the normal 'Morning Dance' tune (which they played anyway despite the lack of the usual Morning Dance), the musicians also played a new (to me) tune, an upbeat tune which I later learned was called "Kelburn Brewer", composed by fiddler Alasdair Fraser. A bright and upbeat tune that certainly helped create a warm and light hearted atmosphere as the skies became less gloomy and various people (from the Vagabonds to The Queen of Hoops - the latter spinning some of her hoops around her) greeted visitors. So all in all, despite the lack of a Morning Dance, there was still some good times had at the Maypole area nonetheless.

After saying hello to a few other people, I made my way to the White Hart Tavern for the Hooligans' hangover set. The Hooligans started by acknowledging it was a rough day yesterday, and that they paid tribute to one of their biggest fans only for said fan to rise up alive like Tim Finnegan in "Finnegan's Wake" (a song they do at their late afternoon 'event' sets prior to the Wildest Rover Singing Competition). They began the set proper with "Fields of Athenry" then John Dickson Wakefield gave the low part of his vocal chords a workout in the introduction to "Mist Covered Mountains". After some sound adjustments seeing how much reverb was in the tiny piano, they continued with "Back Home in Derry". This was followed by "The Sea Softly Calls", an original song by John Kelso.

Oh, and somewhere along the way, two members of the Piper Jones Band, Frances and Alex (the one who plays the big wall drums during their Market Stage sets) showed up and delivered a poster to the Hooligans alleging the superiority of the Market Stage to the White Hart Tavern. The Hooligans took this as a gauntlet thrown down. 

(As for me, well, yes, the Market Stage has more seating, but the White Hart Tavern has more shade. In any case, this is just a silly little bit the two bands are doing in fun). 

Next was one of the funniest songs in The Hooligans' whole repertoire, "1353". After acknowledgement that today they were celebrating Patrick's birthday, Patrick sang lead on "Motherland". The set concluded with the tearjerking "Men of Erin."

Next on the White Hart Tavern Stage were the (adjectiveless) Bards. They performed a few originals among a number of traditional songs. "The Spark (the Flame)" was one of their originals, which was followed by "Wellerman" (a song that wasn't heard much at Faire prior to 2021 but thanks to Internet fame has become a standard) and another original, "Serpent". They moved back to traditional song territory with a bunch of songs most Faire goers are familiar with, "Whiskey in the Jar", "All for Me Grog", and "Drunken Sailor". 

Over at the Market Stage, Piper Jones performed some energetic reels before an enthusiastic audience. 

Afterward, at the nearby Boar's Head Tavern, Bard City was doing their early set. "Why Does No One Want to Play" is about problem players you encounter at the tables (the sort that annoy DMs and other players). After that came the 'Bard City Board of Tourism' song, about what a community run by bards might be like. "Archchad" is about a wizard that defies the 'squishy wizard' type common in tabletop RPGs and who is not above power-lifting. 

And of course we have "Roll That Die", about how the dice-rolling mechanic affects outcomes of scenarios, with choruses and verses that are different depending on the outcome of the roll of the giant 20-sided die. So of course they could perform this one two or three times a day and it would be different each time. This time, the Caper had a roll of 16 and a success, while the Romance had a roll of 3 for failure. The set concluded with one of their newest songs, the swamp hag song "Bog Slog".

Reveler's Rulette this time featured another parody song inspired by the Boar's Head, this one featuring Mal Rose with Bardwin the Bard. Master Ty gave us "Paddy's Green Shamrock Shore", and Elizabeth Bowtell had two more Shakespearean sonnets. Rebecca "Beck" Marshall gave us "Peasant's Throne" while Mistress Anna wowed the tavern with an amazing rendition of "Nothing You Can Take From Me". The show concluded with "The Baton", a song that Beck and Lottie dedicated to mothers and daughters.

I arrived at the Gatehouse Stage in time to see Bardy Pardy finish a set with "Wildflowers". 

I stayed for Chaste Treasure, who began their set with "Cuckoo's Nest" and "Sweet Violets" before they moved on to their original, "Otto Correct" about the errors in communication caused by the scribe in all of our communication boxes. Another Chaste Treasure original, "We Like Our Men Like We Like Our Drinks", followed, and this time we had lines inspired by Root beer float and Malort. The set concluded with "Swallow".

Over at the Lyric Stage, Dinty the Moor was demonstrating his card tricks. He had one involving two volunteers and the eight of clubs. He also talked about the origins of some of the most famous phrases associated with magic, "Abracadadbra" and "Hocus pocus", and their meanings. The former means "It is created as it is spoken", and the latter is a magicians' parody of a line from Catholic Latin. The end of this particular show had a trick involving an egg in a bag.

I then returned to the White Hart Tavern where the Hooligans were once again having Patrick sing lead vocals on his birthday, this time with "Walking on the Waves". The banter largely involved the earlier bit with Piper Jones, and how the Hooligans weren't going to be taking it lying down, as no one out-trolls the Hooligans. After an Irish song about an Irishman mocking the English, "Come Out Ye Black and Tan", there was some "Build the Dome" banter. Then there was the fast-paced song "Scalliwag (Jump In and Take My Hand)". After basically an admittance that the whole Piper Jones thing was just an elaborate way of encouraging White Hart fans to venture to the Market Stage/Boars Head area to see Piper Jones sets because their music really is awesome, the set continued with "Drink Till I Die" before concluded with "Those Were The Days".

I headed over to the Boars Head Tavern for Bard City's 3:00 set. This time, I was in time for "Bar barbarian". They followed it with "Roll That Die", and the one audience volunteer had three practice roll nat 20s in a row, which surprised several people, including Bard City's lead singer Varrick. However, the actual rolls were a different story - The Caper ended with a roll 3 failure, and the Romance ended with a Roll 14 success. Next up came their new song about the Swamp Hag, "Bog Hog" with the spooky accordion intro before it picks up the tempo. Fan favorites such as "Vesuvius" (about a dragon that saw the error of his ways and started fighting fires and those who start them) and "Greta the Goblin" (about a minor NPC that much to the DM's surprise becomes the players' favorite), followed.

I made it to the Gatehouse Stage just in time to see Bardy Pardy perform two of my personal favorites, "Cheshire Kitten" and "One Last Drink". 

I stayed for Chaste Treasure's set, which began with "Black Agnes", a song that Lady Joselyn Macduff of the Clan Macduff claims is about her ancestor, Agnes of Dunbar Castle. The Professions song had some interesting audience choices this time around: Veterinarian, hermit, and professional wrestler. After a story about a brave knight's tale and reward came a Chaste Treasure original, "Drink to You". They closed the set with "Captain's Wife's Lament", which is a song about sailors, honest. :)

Next up was Village Court. Much to my surprise, Tallulah Tattersby of Bardy Pardy was the defendant in Case One, being brought in for sassing public officials and being called on her strange patchy peasant outfit. Bailiff George Grimm acknowledged that there are a lot of Bardy Pardy fans in the audience and admits that Bardy Pardy is awesome, but made a point of telling the audience (aka the jury) not to let that affect their judgement. The audience/jury found the case in Tallulah's favor.

Case two had two defendants, girls dressed as bees. The bees were accused of causing chaos with their flying around stinging. Margery Malagrave acted as their defense, saying that the bees were just doing what nature says they're supposed to be doing. Bailiff Grimm disagreed with that argument. Margery said bees do not actively seek people to sting and that it's in defense. 

Grimm asked people to raise their hands if they have been stung. There was also the question of whether or not the bees were swarming. In the end, the bees were found guilty.

Case 3 was another case involving radiant beauty. Margery says everyone in the audience is quite attractive so the citation was meaningless. Though Grimm defended the citation, the audience/jury decided that Margery was correct.

Case 4's defendant was a Knights Who Say Ni cosplayer (who clearly used means of height extension) who was accused of being too tall. Hugh MacGregor made further references to the Knights Who Say Ni's weakness, and the defendant was found guilty.

A short Case 5 ensued, where Margery admitted that she made a mistake when she was writing information for auditions for the Expressionist Guild. She accidentally wrote Impressionist instead, resulting in confusion. 

Two more 'snap judgements' (quick cases) followed, one where a little girl was acquitted of loitering and the other where clients were accused of radiant beauty/sass/bias towards bees. In the end, the bees were to blame.

The large amount of bee content came about because indeed the bees/yellowjackets were a nuisance in a number of areas, including the Gatehouse Stage. 

I stayed for Bardy Pardy's last set for the 2025 MDRF season. After "Humors of Whiskey/Wild Rover" came a slower version of "Oak and Ash and Thorn" followed by "Fields of Athenry". Next, Bardy Pardy thanked the audience and noted that when they return to Revel Grove, it does feel like coming home again. They then performed "Back Home Again". Next came a silly segment where they were joined by the Bards (adjectiveless) and Bard City to form Bardic Overload. They performed a silly song, an adaptation of a song to fit in with the time period of the 1400s-1500s, "Long Tunic". 

Afterward, the other two bands took to the background so that Bardy Pardy could sing one last song for the season, a beautiful rendition of "The Parting Glass".

Yes, this is Bardy Pardy's last weekend this season, but I'm hoping we'll see them again next year. 

Another group for whom this is their last weekend this season is Chaste Treasure, so I made sure to head to the Boar's Head Tavern for their last set. I arrived in the midst of "We Like Our Men" where one of the drinks was "Koolaid". They followed that up with "Caviar" which had some new verses. After that earworm song about two subjects that are only occasionally sung about in the same song (that rhyme with necks and gear), Lady Gwendolyn Thorne, Sultana, and Joselyn harmonized in their silly parody, "Holding Out for a Himbo". 

Afterward, our favorite Boar's Head Stage Manager Love presented Lady Joselyn with a Citizen of Revel Grove pin (having previously presented Fraulein Elsa, Sultana, and Lady Gwendolyn with such pins) in honor of her triumphant first visit to Revel Grove. Here's hoping we see Chaste Treasure again next year.

On the way out, I noted certain members of the Hooligans and their associates arriving at the Boar's Head area. They were going to be there for the Piper Jones dance party. 

As for me, I headed to the White Hart for Pub Sing, which I was a bit late for having wanted to say my farewells and well-wishes to Chaste Treasure. I arrived as Nan Rash was doing the showstopping "Cuckoo Bird".

The Adventurers were next, performing "Roll The Old Chariot Along". This was followed by Alys Overdun performing "Spanish Lady". The Vagabonds were next with "Three Drunken Maidens". And then it was time for Last Call.

The Weyward Sisters followed with "Bonny Man", and then the ensemble got together for "Step It Out Mary". Jack Ripley dedicated his song to the Kissing Bridge, before launching into his version of "Old Dun Cow". 

There's a certain thing you need to know about Jack Ripley's version of Old Dun Cow: Every time he performs it, he inserts a small snippet of a different song during the last verse. This time, it was the popular theme song to "Where in the World Is Carmen Sandiego". (And I found an amusing irony in seeing the Jammer Clan providing accompaniment to a song made famous by an acapella group), after which Jack Ripley said "She stole the Kissing Bridge".

Did Carmen Sandiego steal the Kissing Bridge? Or was it the Vagabonds? Or maybe Baron Templeton and Lady Thomasin Payne-Templeton repossessed it for their spa in Tiddington? Or maybe, much like certain acts at Faire, it had a limited engagement at MDRF before heading off to other Faires? I heard those other explanations later. 

(And yes, I know the real explanation for the Bridge's disappearance. It was termites and damage, from what I hear). 

Anyway, Pub Sing continued as the Vagabonds performed "Oak and Ash and Thorn". The Adventurers provided a preview of Pirate Weekend with "Yo Ho Ho", and the Weyward Sisters brought back "Bedlam Boys" (which they hadn't done in a while). Sir Richard Mondes performed that longtime favorite, "Blowed and Torn", and Pub Sing concluded with "Wild Mountain Thyme".

And so concludes Myth and Magic Weekend. We'll miss seeing Bardy Pardy, Chaste Treasure, Jacques ze Whipper, and Ses Carney, but we're looking forward to seeing the acts that come in next weekend. 

Next weekend is Pirate Weekend, where our old friends the Crimson Pirates will stop by, as well as the Rowdy Bardlings and a few others. Looking forward to it.

Monday of Labor Day Weekend MDRF 2025

And so we come to Monday of the three-day Labor Day Weekend. Though three consecutive days can be tiring, I still had a lot of fun and there were some twists.

Early on, I found out from a certain David of the Mighty Mighty Pie Wedge that yesterday they deliberately won the Worst Place Award by refusing to participate in the Wildest Rover Singing Competition due to the dubious wins by the Freaks on the Left during the first weekend.

Anyway, after Opening Gate I soon saw Beatrice and Millie with the Entry Polls, and Hugh MacGregor with the Word of the Day. I also spoke with Justice of the Peace Reginald Waldegrave and obtained a citation, after telling him of a certain joking suggestion a certain associate of The Hooligans made. 

I then made my way to the White Hart Tavern and spoke about the citation to those involved. (More on that later when I get to Village Court). I stayed for the Hooligans' hangover set.

The Hooligans' hangover set began with "Loch Lomond", and was followed with "Motherland". Afterward came "Ride On", followed by some banter about how they care for their voices. There was also banter about "Oh Danny Boy" and a certain special version of that song included as a bonus on one of their CDs. . Afterward was "Caledonia" and "Fields of Athenry". Next was "Molly Malone", a song they hadn't done in a while, followed by the tearjerking "Men of Erin".

I saw a bit of the Les S. Moore show at the Fortune Stage, as he demonstrated wallet switching with a willing volunteer, scrupulously making sure that the volunteer ended up with the same amount he started with. 

Then over near the Royal Pavilion, I saw Digger Plotts doing his 'Grave singer' show, singing his take on Edward Gorey's alphabetical obituaries, accompanied by his shovel-guitar. He switched to a more conventional ukulele for "A Daisy a Day".

Over at Page After Page, the visiting authors were there to sign their books. One of them was Talyn S. Draconmore, whose "Good Little Rennies" book might be a children's book but it has good advice for Rennies no matter what their age is. 

Paulo Garbanzo performed his one-man juggling show at the Royal Fox stage, with jokes involving the physics and the math involved in juggling. 

I headed to the Globe Theatre Stage, where the new madrigal show A Per Se is performed around noon. Sir Richard Mondes and much of the ensemble join together for a number of beautiful songs in the madrigal tradition are featured, interspersed with dances from the Revel Grove Dance Company (including the 'Tourdion' dance from last year's Royal Court show). Various songs about various subjects and settings (love, the month of May, and so on) are prominently featured, with varying choral arrangements. They close the show with a change of pace and two songs that the audience probably already knows, "The Parting Glass" and "Some Say the Devil is Dead". The latter is upbeat and features some energetic dancing from the Revel Grove Dance Company.

Afterward, I met with Hugh MacGregor and a few others on the pathway for Hugh MacGregor's Pun Exchange, where Hugh and other participants exchange puns.

At the Market Stage, Ses Carney performed some knife throwing bits in the old school carnival style. 

Reveler's Rulette at the Boar's Head for Monday was another great one. We had Fortune Blunt performing "Eli, the Barrow Boy", a song from the same people that brought us "Mariner's Revenge". Next came Dottie Grimm with an old Irish song, "Black is the Colour of My Love's Hair". Cecily Payne brought us "Tale of the Shadow", while Lottie told us the dark story of "Rosemary".

Next, Nan Rash showed up to do "Cuckoo Bird", which got much of the audience clapping along. After that big upbeat number, it was time for a few more mellow songs, such as "The Boatman" performed by Anne Bracegirdle. And then Baron Templeton and Thomasin Templeton performed "Sleep Song", a calm mellow song.

Over at the Gatehouse Stage, Chaste Treasure performed their early afternoon set, with the unrelated "Cuckoo's Nest" song (this song is not so much about a bird as it is about a meeting place for private encounters), followed by "Sweet Violets". A special 'Wizard of Oz' themed version of "Chandler's Wife" followed. "We Like Our Men Like We Like Our Drinks" is different every time Chaste Treasure does it since they take drink suggestions from the audience. This time, suggestions included orange juice and pumpkin spice latte. The set concluded with a series of toasts, followed by "Swallow".

Back at the White Hart Tavern, the Hooligans performed their 2:30 set, starting with "Over the Hills And Far Away", and continuing with "Queen of Argyle". Afterward was "Beneath the Gallows Tree" (not to be confused with their Pardoner's Tale song). Next was "The Ballad of Mickey Hooligan", a song with several key changes telling a number of tall tales about a founding member of the Hooligans. Patrick sang lead on "Walking on the Waves". The rousing clap-along "Mission Hall" was followed by the fast-paced "Scalliwag (Jump In And Take My Hand)". 

I returned to the Gatehouse Stage for Bardy Pardy's mid-afternoon set, and this time I was in the back rows to see the audience response to "MACINTYRE!" in "The Old Dun Cow", before moving forward for the rest of the show. "Back Home Again" was followed by Tallulah asking the audience about what sort of geeky tendencies they have, aside from attending Ren Fairs, and if Alice in Wonderland has influenced them, before launching into the surreal Wonderland-inspired "Cheshire Kitten" (one of my personal favorites). The set concluded with "One Last Drink".

Chaste Treasure was next on the Gatehouse Stage. This time, they started the set with "Black Agnes", a song inspired by Agnes of Dunbar Castle and how she used her wits to successfully thwart a siege. What the history books don't tell us are just what words she used to mock those who would try to claim her castle, so this song fills that in with some hilarious lines. Afterward, they asked the audience if they're comfortable with up close audience interaction before launching into "Roll Me Over". Afterward was one of their "verses" songs, "Caviar" where they have dozens of verses (though only a few are used each performance) and are always writing more. They concluded with the song parody "Holding Out For a Himbo", which had some impressive harmonies.

And now we come to Village Court. In the first case, Mistress Gifty, a gifted dancer in the Revel Grove Dance Company, had a case based on an incident at Saturday's Morning Dance at the Maypole where a ribbon attached to the Maypole broke and caused her to fall. She was accusing the village of causing her humilation. In the end, she surprisingly won her case.

Case Two was also related to the dances early in the morning. After the usual Morning Dance with much of the cast there's another dance, this time with some visitors invited to join in under instruction from the dance masters. A child was accused of being such a good dancer she stole the limelight. The defense argued that the child is talented and can't help it. In the end, she was found not guilty.

Case Three was Sir Chris vs. inaccurate information. (I told you the citation would be important). 

 Revel Grove's historian can't be everywhere at once and can't see every day's Wildest Rover Singing Competition. Therefore, Sir Chris relies on other people to give the results said historian isn't there for. A certain associate of the Hooligans jokingly suggested to someone in the Pie Wedge section that they tell untruths about the results. While the suggestion was clearly made in jest, it's still basically obstructing a historian in the course of their duties. 

Margaery Malagrave testified for the defense, citing my work in writing accounts and being knighted by King Henry and Queen Jane a few seasons ago. Bailiff Grimm cited appreciation for my work, though questioned if I was too flattering in my description of him. 

In the end, the audience found in favor of Sir Chris and accurate information, and the Hooligans were subpoenaed for accurate results so therefore even though Revel Grove's historian now has the results of the Wildest Rover Singing Competition from Saturday and Sunday (more on that later).

There were time for a few more smaller cases. Case 4: Is that lady a pirate or is she just wearing a fancy hat? It was decided that she just likes wearing fancy hats.

Case 5 was saying Bailiff Grimm was mean, and Margaery Malagrave citied a certain story about mean girls and its moral about how pointless pettiness is. Case 6 had someone cosplaying Red-Haired Shanks from One Piece as the defendant (Hugh MacGregor's chalkboard comments on this case had a number of One Piece references), and the question was 'Should he be tried for piracy'. The jury/audience decided that he should at least be tried.

The final case was a short callback to the running joke throughout this edition of Village Court about Bailiff Grimm. Is he too funny? 

After Village Court, John Dickson Wakefield told me what went on during both Saturday and Sunday's Wildest Rover Singing Competition. The Freaks on the Left won the Wildest Rover trophy on Saturday for the third time in a row, so Pie Wedge organizer David organized silence for the Pie Wedge, causing the Relatively Normal People on the Right to win. We noted that the Mighty Mighty Pie Wedge is a very frequent winner of the Participation Award.

We also recalled that worse things have happened to the Maypole than a ribbon breaking. There was that time during (I think) the 2010 season where everyone arrived to find the Maypole laying on its side instead of standing tall. Those who were there at the time still talk about it every now and then.

In the pathways, I saw Vince Conaway performing on the dulcimer a number of tunes that go back centuries. I also spent some time with Thomas Tallis, who in addition to playing tunes on the virginals will give a history of how that instrument got its name. 

I made it to the White Hart Tavern in time for the Wildest Rover Singing Competition. Defending champions the Relatively Normal People on the Right went first, followed by the Freaks on the Left and the Mighty Mighty Pie Wedge (who participated this time around after sitting out Sunday's competition). The Worst Place Award went to the Relatively Normal People on the Right, and the Participation Award (represented today by a golden burger) went to the Freaks on the Left.

This left the Wildest Rover Trophy, and since the results of the previous competitions were contested, the Hooligans chose Matt to decide the winner. In the end, the Wildest Rover trophy went to the Mighty Mighty Pie Wedge.

Next came "Rattlin Bog", where after 'bed from a feather', the Hooligans make up new words for the progression and challenge themselves to see which of them can make it through the entire expanded progression without messing up. When one messes up (and they WILL mess up), we hear the sound of the gong. The audience is asked to pick the first word of the new progression. Since Matt was returning to the Hooligans after taking Saturday and Sunday off, the first word was 'Matt'.

So the progression's new words started with Matt, then 'maid', 'maid', 'pillow', 'head', 'mouth', 'tongue' (Patrick was gonged here), 'tongue', 'ring', 'Jewel' (John Dickson was gonged here), 'shine', 'gleam' (easy to get those two mixed up, Kelso was gonged here). And then tree, because the song begins and ends with the tree (It doesn't have to make sense). Matt made it all the way through the final progression to win the Rattlin Bog Medal.

Pub Sing, of course, was next. It began, as usual, with "Health to the Company". The Brocades made a welcome return to Pub Sing with their earliest hit, "I'll Tell Me Ma". Next came the Adventurers with one of their hits, "Roll The Old Chariot Along". After the Host Toast came the Weyward Sisters with "A Stor a Ghra", and the Vagabonds with "The Old Black Rum". 

Nell Quickly brought back her classic "My Thing Is My Own", and was prevented from ringing the bell during the verse that mentions a bell, though it was decided they'd explain later why they didn't want her ringing the bell. Next was Bardwin the Bard and company with "Excursion Round the Bay", and Idle Fancies with "Doodles". Next Moil Frith of the Vagabonds sang "Johnny Be Fair", a song about a girl who runs into unexpected problems when looking for the right man to marry.

Then Nell Quickly started singing a reprise of the 'bell' verse of "My Thing is My Own" and then rang the bell in the corner of the White Hart Stage. Unfortunately, that's the bell that signals Last Call, and you can't unring that bell. So the cast got together to sing the "Last Call" song.

Next up, Sir Richard Mondes and company had "Past Times With Good Company". This is, according to Mondes, a madrigal song that His Majesty King Henry may have composed. When it's noted that the madrigal didn't quite fit in with Pub Sing, they picked up the tempo and performed a faster arrangement than the traditional one. 

Next up was Jack Ripley and the Jammer Clan, who played the 'Sota' tune as the soundtrack to the "Ripley Rumba" dance, a bizarre dance that's a lot of fun to dance along to. 

Afterward, the Vagabonds performed "Three Maidens", and the Adventurers performed "Retirement Song" (about a sailor's reasons for settling down on land). The ensemble performed "1,2,3,4" which is a song about how it's the middle of a show but there's still more to come. The Vagabonds were next with "One Last Drink", accompanied by the Jammer Clan on guitar and fiddle. 

Next up was the Weyward Sisters with a very different version of "Cuckoo's Nest". Nell Quickly got to show her softer side when she sang lead on "Red is the Rose", and Pub Sing, as usual, concluded with "Wild Mountain Thyme".

On the way to the gate, I met Gwendolyn (of The Gwendolyn Show fame) at the main gate fountain. We said we would have to find some opportunity to snap a photograph of Gwendolyn Steele together with Lady Gwendolyn Thorne of Chaste Treasure.

On the inside of the gate, Nymblewicke, Sir Francis Bryan, and others were advising people that the end of day cannon was about to go off and to cover their ears after the Royal Standard is lowered since the cannon is very loud.

On the other side of the gate, I was there for a short reprise of "Wild Mountain Thyme", followed by the King's speech wishing us well and inviting us to return. 

And so concludes Labor Day Weekend of the 2025 season of MDRF. Three days is pretty tiring (and I needed most of the week to finish up these recaps), but it was still fun.

Next week will be the final weekend this season for Jacques Ze Whipper, Chaste Treasure, and Bardy Pardy. I miss them already. But speaking of Bardy Pardy, they might be sharing the stage with two other bands with 'Bard' in their name this coming weekend. Looking forward to that.

In the meantime, I'll close by saying this was a fun Labor Day Weekend.

Labor Day Weekend of the Maryland Renaissance Festival has three days, and so recapping the events of those days will require three posts. Here is Part One of my recap for Labor Day Weekend of MDRF 2025.

Labor Day Weekend Saturday, MDRF 2025 season

Saturday August 30th of Labor Day Weekend was cool and breezy. The temperature, as I noted at the end of the day to a number of people, was just right.

After Opening Gate, I met with the Duke of Suffolk who was looking after Nymblewicke's Flea Circus, and then soon headed to Hugh MacGregor, Beatrice and Millie for the Entry Poll. I then greeted Lottie and Dottie Grimm, and soon it was time for the Morning Dance.

Some time afterward I headed for the White Hart Tavern for the Hooligans' hangover set. The set featured many of their softer, slower songs, with their witty banter in between. They started with "Night Visitors Song", a slower song with basically the same storyline as "I'm a Rover". Afterward came "Heave ya ho and away we'll go" and "The Sea Softly Calls". After "Back Home in Derry" came the merchandise portion, where it's announced that new merchandise this year includes the Lord and Lady of Hooliga pins. There was an anecdote from John Kelso about how backstage at Renaissance Rumble, John Kelso's actions helped a certain castmate in the show who was in trouble. 

As usual, the strange but true stories the Hooligans tell provide many of the best banter. John Kelso related a story about a booth called Sir Munchalot. In an item from 'weird MDRF history', there was a Living History Pavilion near Blackfriars Stage between it and the Joust Arena. Eventually, the Living History moved to the Reveler's Bower where it has been ever since, and food booths took its place. One such food booth was Sir Munchalot, which sold bizarre snack and carnival foods such as chocolate covered bacon and deep fried peanut butter and jelly sandwiches. 

Kelso related an anecdote about eating the latter shortly before the chess game at the Joust Arena. John Dickson Wakefield found the whole thing amusing because the previous location of the Living History pavilion was replaced by something which had nothing to do with history. In any case, the Sir Munchalot booth is long gone now. I hadn't really paid much attention to that booth since the Living History booth moved out of there, so this item of MDRF history was new to me. Even after all this time, I'm still learning new things about MDRF's history.

With that out of the way, the Hooligans moved on to 'Motherland' and 'Loch Lomond', the former about pondering those with less cynical viewpoints and the latter about two Scotsmen away from Scotland, based on the legend that when a Scotsman dies away from home, his spirit returns to Scotland via 'the low road'. 

Afterward, I ventured into the pathways between the White Hart Tavern and Reveler's Bower and encounted Hugh MacGregor (current Mayor of Revel Grove) speaking with Baron Templeton and Thomasin Payne Templeton, (the current Mayor and Mayoress of Tiddington). They were talking about various businesses, including Tiddington's spa. (Which reminded me of similar business ventures Middle J. Middle and Felonious Fingers ran some time back in Timeline B). 

I then headed to the Reveler's Bower to see 'Midwife Crisis'. Midwife Clare Hoskins gives a comedic description (with prop comedy and humorous visuals) of a midwife's duties assisting with pregnancy, and speaking of related subjects and beliefs. I'm not sure if my description can do this justice. You really have to see this one for yourself.

I then stayed at the Reveler's Bower for two STREETSpeare scenes, one from Comedy of Errors Act 2, scene 1. This one features Adriana confiding to Luciana about her husband's faults and failings, including being late for dinner. The servant Dromio at one point arrives with a story to tell. The theme of women talking about the men in their lives continued in the second STREETSpeare scene, The Provoked Wife Provoked Wife Act III, scene III, where Lady Brute and Belinda talk about the lengths women will go to please men, and the behaviors of particular men and women they know (Lady Fancyful from the earlier scene is mentioned). King Henry stopped by during this, and it was the hope of our STREETSpeare performers that the scene from the play will help the King (who in the current storyline set in 1539 is seeking a fourth wife) understand women better. 

Speaking of STREETSpeare, I've transcribed the short little summaries on the STREETSpeare cards and may post them in various MDRF groups, for the benefit of those who find them hard to read without glasses, or who can't read them after their cards have been stamped. 

Anyway, I made my way to the Gatehouse Stage for Bardy Pardy's first set of the day. This set was all over the place, with songs about love ("Book of Love (I love it when you give me things", a soft tender song) to Ren Faire standard The Old Dun Cow to a song about everyone's favorite feline from Spain "Don Gato" to a story song about an evil villain whose dark plan for the seventh pretty girl is thwarted when she turns the tables on him. The set concluded with a lovely "The Sound of One Voice".

Afterward, Tallulah Tattersly of Bardy Pardy did her little bit through the aisle passing Fraulein Elsa von Berg of Chaste Treasure, in sort of a 'tag team' type moment, as Chaste Treasure was the next act at the Gatehouse Stage. So Chaste Treasure set up their new banner, and began their set with "Easy and Free" (a song sung to the tune of 'Jock Stewart' where the ladies of Chaste Treasure introduce themselves individually). Afterward came their "Actually Royals" parody, whose lyrics describe the perks of nobility. 

Next was their "Professions" song, which is different every time because they take suggestions from the audience as to which professions to use and improvise innuendos or wordplay about. Suggestions this time ranged from the obvious ("Ren Faire performer") to 'park fence steel worker' (the one who fixes fences - this one was obscure enough the one who suggested it had to explain what it was). Indeed, often at times, those who know the song and how it works (mostly from seeing Chaste Treasure perform it) will often suggest niche professions or obscure ones. Later after the set, Sultana recalled an Oregon audience suggesting a canal worker for that song. 

Afterward was the Chaste Treasure original "Drink to You", which is another of their 'verses' songs where they're always coming up with new verses, while still singing some of their favorites from previous seasons. Next was the fairy tale inspired "Johnny Get Off the Goose", dealing with the aftermath of 'Jack and the Beanstalk' and the situation on Jack's farm (which has benefitted from things such as the golden goose taken from beanstalk land). The set concluded with "Swallow". 

After chatting a bit during the break between sets, I stayed for Bardy Pardy's next set. Tallulah suggested a theme for the set, but Tallulah, Molly O'Flaherty and Ella Grimsly couldn't agree on a theme. Love, boats, or flowers? Why not all three? 

Well, first came "Bonny Ship the Diamond", which obviously fits the 'boats' theme. Then "My Dear Someone", a love song, followed by a song featuring both love and boats, "Like Ships Need the Sea". Tallulah then sang another song about love and the sea, "Father Neptune", and then all three of them performed "Saucy Sailor". Plenty of love and songs about ships and the sea, but so far, no flowers. Fortunately they know a song that has love, a boat, and flowers, and concluded the set with "Wildflowers".

I then made my way over to Blackfriars Stage for Cirque Deluxe. This circus show features juggling, unicycling, balancing acts, hoops, and square and cube spinning. Some amazing bits performed there, leading up to the finale combining unicycle riding, juggling and balancing. Cirque DeLuxe is only performing at MDRF the first two weekends, but we'll be seeing the Queen of Hoops during the rest of the run.

I then made my way to the White Hart Tavern, where the Hooligans were performing their mid-afternoon set. They performed the short version of Paddy Murphy (the one that gets to George Street saloon earlier), and then followed it up with the Hooligans classic, "Mary Mac" which gets faster each verse and chorus. Next was "Used to Love Her", which John Dickson Wakefield described as simultaneously a joyous and angry song about getting over a girl. Next was "Irish Rover", the tall tale of a ship with a large crew and an absurdly large and ridiculous cargo (I still don't know why three million bales of old nanny goat's tails were in the cargo) that eventually meets with a disaster with the narrator and the captain's dog being the only ones left. Afterward came a new song for the Hooligans, "Mission Hall". 

Soon came "Cruiscan Lan", a song about a jug of whiskey. The chorus is in an old Irish language, but the Hooligans spell it phonetically on a chalkboard so that the audience can sing along. They concluded the set with "Scalliwag (Jump in and take my hand)".

I then headed over to the Gatehouse Stage, where Bardy Pardy was performing their set. They started with "Let Union Be" before moving to that Faire standard, "Old Dun Cow". They spoke of how they were glad to return and see familiar faces before launching into "Back Home Again", a song from the same originators as "Toast to Tomorrow" unless I'm mistaken. Tallulah then did her introduction to the next song, the surreal Wonderland-inspired "Cheshire Kitten". The set concluded with "One Last Drink".

Chaste Treasure was up next, starting with "Scotsman" before moving to "We Like Our Men" (this edition featured tea and lemonade). Fraulein Elsa talked about the faire she dreams of one day starting, Lady Elsa's Anachronistic Faire (that may be the short version of the name she gave). Afterward came "Caviar", one of Chaste Treasure's 'verses' songs where they're always coming up with new verses. The set concluded with "Tubular bubular", a short ditty about sights seen at a Ren Faire. 

Next up was Village Court: Rash Decisions Edition with special guest attorney Nan Rash of the Vagabonds (filling in for George Grimm, who would resume his usual position on Sunday). As it turned out, she was more than up to the task of arguing on behalf of clients.

Case one involved a young lady putting herself on trial for being too radiantly beautiful. She was even demanding a most harsh punishment for it. A witness named Sam felt faint at the young lady's beauty. Nan Rash argued that the whole audience is attractive and the law against radiant beauty is unjust. The young lady was acquitted much to her dismay.

Case Two definitely is an illustration of the point that there are very few cases too weird for Village Court, as a doorframe was put on trial for allegedly allowing a moth to crash into it. According to Margaery Malagrave (defense for the doorframe), David the doorframe was doing his job. A man came up to play the personified form of the doorframe, as Margaery did a dramatic reenactment of the incident where Motthew the moth flew into the doorframe. Nan Rash conceded that this was an accident, but still justice was called for. In the end, Motthew the moth was deemed to be the one responsible.

Case 3 was a citation for sassing a public official. Nan Rash was a witness to the event and clamed that Tomfoolery Kettlely did it instead. Stephen Vaughan (ambassador to the Nethelands) testified on the stand, and the question of whether or not the defendant can call her evil twin to the stand was raised. Of course, few believed the 'evil twin' really existed (and Hugh MacGregor even wrote a reference to Bunberry on the chalkboard that I'm not sure how many people got. For those who DO get the reference, it reflects the skepticism about the evil twin's existence). 

Anyway, the defendant stuck to the story and said "What authority?". Margaery said she was trying to get an idea of the defendant's personality, but it was clear that the defendant indeed was sassy with a public official, so the citation stood.

Bardy Pardy was next at the Gatehouse Stage, starting the set with a classic song (but not necessarily a Ren Faire classic), before moving into a definite Ren Faire Classic, "Humors of Whiskey" leading into "Wild Rover". Next came "The Fox" (town oh), followed by "Magpie", that spooky song about a thieving but mystical bird that the Weyward Sisters introduced to Revel Grove (speaking of the Weyward Sisters, there was a twist during Sunday's set, but I'll get to that in the Sunday recap). After that came a story song about a young woman who attracts the attention of a man who proves to be a villain with an evil plan, but the young woman ends up turning the tables on him (it's a song that goes back a ways with a number of variants, from what I can find, sometimes called "Six King's Daughters" or "The Outlandish Knight"). The set concluded with a longtime favorite, "Beggars to God".

I then headed to the White Hart Tavern for Pub Sing, which began with "Health to the Company", followed by the Adventurers with the audience participation favorite, "Roll The Old Chariot Along". Next the Tavern Twins Nell Quickly and Alys Overdun sang "Beer, Beer, Beer", the song that gives Charlie Mopps credit for something my research says he didn't really do. Afterward the Weyward Sisters sung the comedic story of "The Widow and the Devil", followed by the Vagabonds singing about rumors they've heard about the Devil's status and other strange things, "Some Say The Devil Is Dead".

After the Host Toast, Millie Appleton was next with the cautionary tale song, "Nancy Whiskey" (though she wasn't entirely sure if 'Nancy Whiskey' was referring to a person or a drink). The ensemble got together for "Misty Moisty Morning", and then Idle Fancies told the short darkly comedic story of "Johnny Sands". The Vagabonds brought back their classic "Oak and Ash and Thorn", just before Last Call.

The Weyward Sisters were next with "Beigh Aonach Amarach", a song about a young girl begging her mother to let her go to the fair in County Clare. Sir Richard Mondes and company were next with "Paddy Murphy", followed by the Adventurers with "The Wellerman". Nan Rash delivered the upbeat showstopper, "Cuckoo Bird". 

That one's certainly a tough one to follow, so the whole Ensemble got together for another ensemble story song, "Darcy's Donkey", about how a drunken donkey won a race at Donnegal. Jack Ripley and Nan Rash performed "Dance With Everybody", followed by the Adventurers with "Row Me Bully Boys". 

While many of Nell Quickly's songs about man troubles are light and humorous, "Blue Bleezin Blind Drunk" is a much darker song where a woman who married a man for his money finds that he's "worse than the Devil himself". 

With Pub Sing moving into the softer and sentimental portions, we had the Weyward Sisters with a beautiful rendition of "Parting Glass" followed by "Wild Mountain Thyme".

And so concludes Day One of Labor Day Weekend. Sunday would have some more fun and surprises (a few of which I've hinted at here).

On to Sunday (that's the next recap). See you in Part Two

And so here I am, posting one of my writeups that I've become known for on certain other social media sites. They probably won't get as big an audience here, but I'm posting them here anyway.

And so once more we return to Revel Grove, our home away from home. It is indeed, as the King says, a welcome sight of fond delight no matter where and whence we roam. And upon returning to Revel Grove, it felt like I'd never been away - that the previous season was only yesterday and everything in between was years ago. 

At Opening Gate, the Vagabonds were there to help create the path for the crowd. At the area atop the gate, Hugh MacGregor, Beatrice, Millie, Reginald Waldegrave, Jack Ripley, Bailiff George Grimm and others gathered and waved to the crowd. Soon, the trumpets sounded, announcing the imminent arrival of his majesty King Henry. And not long afterward, King Henry and the Royal Court arrived. After the King gave his speech, the gates opened, and the festival day officially began.

Once inside the gate, I greeted some old acquaintances, such as Margery Malagrave, the Templeton-Paynes, the Duke of Suffolk, and members of the court. Thomas Cromwell and Viscountess Rochford were joined by Stephen Vaughan, ambassador, and the painter Hans Holbein. 

Of course I had to check in on Hugh MacGregor, Beatrice, and Millie for the Entry Poll. Today's entry poll had a question on what your greatest adventure is, as well as where shall we meet again. 

I stayed for the Morning Dance, where many of the ensemble join together for the traditional dance, with a large gathering of Revel Grove musicians supplying the music. The king announced "At thy leisure", and the dance began. After the Morning Dance, the King gave his well-wishes and suggestions to the crowd, and once the King and the Court went on their way, dance master Jack Ripley led people in some more dances.

I met with the Vagabonds, and they talked about their Vagabonds home security, one of the Vagabonds' ventures in Revel Grove this season. I also saw a bit of Nymblewicke's Flea Circus, the little attraction he performs early in the day near the Guest Services Pavillion.

Many of the STREETSpeares this season are being performed at stages, possibly in order to attract bigger audiences. At the Gatehouse Stage at 10:30 am we see our first STREETSpeare of the day, Act 1 Scene ii from a Restoration era comedy, The Provoked Wife (by John Vanbrugh). This scene features Lady Fancyful, who, according to the small text on the STREETSpeare card "can not believe how popular and admired she is. No one else can either". She will, of course, have issues with the marriage between Belinda and Heartfree (and we'll see more of Belinda in another scene from The Provoked Wife later at the Reveler's Bower). 

Next up on the stage is the Royal Welcome. It's basically two shows mashed into one. The first half is the Village side of things, with Hugh MacGregor having to deal not only with the expenses of the royal visit, but with Millie's desire to have an elaborate wedding celebration that will cost even more. If that wasn't enough, Sir Richard Mondes (the previous Mayor who has since gone on to obtain a parliament position) says that by moving into the mayor's house, the Appleton/MacGregors are squatting on Mondes' land. And then the Templeton-Paynes (who caused trouble for them last season) show up. 

Since we last saw the Templeton-Paynes, Baron Templeton (Baron is his first name, not his title) has become Mayor of Tiddington. Thomasin Payne Templeton is looking for entertainment for her events, and Constance Payne and Cecily Payne are referring to their new Tiddington fight corps as the Payne Patrol. Due to someone announcing a change in circumstances that might jeopardize the wedding plans of Millie and Reginald, things get a little heated. There follows a comedic brawl the likes of which Revel Grove hasn't seen since Renaissance Rumble (fortunately, Reginald Waldegrave is level-headed enough to set a few rules) and then King Henry and the Royal Court arrive to break it up.

From then on, the Royal Court take over, and Hans Holbein arrives to show his portraits of perspective wives for the King. We are introduced to these women, who give us their feelings about possible marriage to the king. None of the four end up being chosen, and of course this storyline will continue later on at 4:15 at the Globe in the 'A Bride for the King' show.

I wandered around the Village for a bit, and chatted with people. I chatted with Sir Richard Mondes for a bit, noting that he'd returned to the black outfit he'd worn way back when he was Mayor of Tiddington. He hadn't worn it (or one like it) since 1527, but when returning to Revel Grove in preparation for meeting with the King and with parliament, he needed an appropriate outfit, and Alys Overdun found one of his older ones at the manor house. We also discussed what was happening at Court and that if things go wrong, Hans Holbein will probably be all right, but the same might not be said of some other nobles at Court. 

I wandered around the Village, and soon found myself at the Grounds for Defense and the Royal Pavilion. There, Digger Plotts, gravedigger, was in the midst of his new Gravesinger show. With a bizarre shovel-guitar, he sang the story of "The Blacksmith Tommy Carroll". He switched to a more conventional guitar for "A Daisy a Day". In addition to his own show, he also supplies music for Circue Deluxe, a show that's performed at the Blackfriars Stage.

I made my way o the Gatehouse Stage, and arrived at Bardy Pardy's 12:00 show. This set included "Book of Love (I love it when you give me things)", as well as the old standard "The Old Dun Cow". Bardy Pardy's resident cat lady Tallulah Tattersly took lead with a song about a romantic feline from Spain, 'Don Gato'. Next was a song/story about a young lady who meets a man who has a sinister plan, but the lady ends up turning the tables on him. The set concluded with a lovely song, "The Sound of One Voice".

I stayed for Chaste Treasure's set following. We'd missed Chaste Treasure the previous seasons, and were glad to see them return. Fraulein Elsa von Berg, Sultana Lyla Fatima, and Lady Gwendolyn Thorne were in good form today, and pleased to be back in Revel Grove. After "Sweet Violets" was a song they had stopped doing for a while after 'the plague year', but now felt safe enough to do the audience volunteer bits again, "Roll Me Over". At verse ten, Fraulein Elsa did an amazing impression of a chicken clucking.

Next came a Chaste Treasure original that's different every time they do it because each time, the audience is invited to suggest different drinks (of different types - as long as it's a liquid) to use in the song, "We Like Our Men Like We Like Our Drinks". 

The next song, "Caviar", is a traditional song, but Chaste Treasure has written tons of new verses for it, often involving pop culture references. This edition had references to Star Wars, Jurassic World, Superman, and Black Panther. Next came a song about two subjects that are often the subjects of songs at Faire, but only occasionally are both the subject of the same song. 

After the set, I made my way to the Boar's Head Tavern to see the new Reveler's Rulette show. This is a show showcasing the talents of many of the ensemble, featuring songs that may or may not be in Pub Sing this season, but are just too good not to perform. I arrived in time to see Ginger O'Danny and Mara Starfire performing a rendition of "Bonnie Suzie Klellan".

From there, Mal Rose sang lead vocals in a spooky arrangement of "The Ballad of Anne Bonney". Then someone bearing a resemblance to Lottie Grimm or Morta Weyward performed a song whose title might be 'Rosemary' but tells a pretty dark story. The set concluded with the Payne-Templetons (as the Templetones) singing a beautiful madrigal, "Thou art Beauteous". 

I stopped by the Reveler's Bower to say hello to the people there. Rosamund Wooler, spinner and weaver, was answering various questions about spinning and wool related subjects. She's on her own spinning-wise this season, but she's still happy to demonstrate her skill and knowledge of the wool trade.

Over at the White Hart, Poehemia performed their usual mix of traditional Irish songs and more recent Irish band songs. Included in this set was the cautionary tale, "Black Velvet Band" and the fast-paced "Mary Mac". They followed it up with "Drunken Lullabies".

I then headed over to the Globe Theater Stage for the production of Shakespeare's 'Scottish Play'. Yes, it's Macbeth, one of Shakespeare's best-known plays, and also one of the darkest. Shakespeare's dark tale of the dark deeds done for ambition and power, and the consequences of such actions, is brought to life by an extremely talented ensemble. 

There's an eerie, unsettling atmosphere from start to finish that is appropriate for this dark tale. Though I've seen other productions and have read the play, I was surprised at how intense it got. Be warned, though: It's not for those who feel faint at the sight of that red stuff that rhymes with mud. However, the acting, the choreography, and the atmosphere are all amazing. I highly recommend seeing this one. It's an incredible production you won't soon forget.

On a lighter note, afterward I returned to the White Hart Tavern for another Poehemia set, thus bookending things sort of. They performed one of my favorite, 'Turaloo' (an upbeat song that gets stuck in one's head), and followed it with "Seven Drunken Nights" (a song about an Irish man whose wife is well aware of his tendency to drink). Later on, they performed their version of "Bog Down in the Valley", and followed it up with a Pogues classic, "Fall From Grace". They concluded with a version of "Parting Glass" whose tempo changes partway through it. 

Over at the Guest Services Pavilion, I met with Fortune Blunt, the bard who does the jingles for certain shows. I was told that the "Public Court" jingle has now been changed to "Village Court". So those who sing along to that catchy jingle at Village Court sessions should keep that in mind.

I then made my way to the Gatehouse Stage for Chaste Treasure's next set. After starting off with an upbeat rendition of 'O Holy Queen', they then went into 'Virtue' before doing their 'Professions' song (one of those where they take suggestions from the audience and improvise lines based on suggestions). This version they did jokes and innuendos based off of 'cashier', 'stage manager', and 'astronaut'. Afterward came another traditional song they've written dozens of new verses for, "My Thing Is My Own" (the song is also the theme of their 'Ladies Unlaced' series currently on hiatus but with no less than sixty-nine episodes where the ladies of Chaste Treasure talk about theatre, dining, and whatever else they can think of). 

They announced that on Sunday, a member of Chaste Treasure new to Revel Grove, Lady Joselyn, will be joining them. They closed the set with their comedic take on the story of Agnes of Dunbar Castle, "Black Agnes". 

I stayed around the Gatehouse Stage for Village Court. This show contains improvised court cases with volunteers both from the Village Ensemble and visitors who have been given citations. With Justice of the Peace Reginald Waldegrave presiding, and Bailiff George Grimm and Margery Malagrave there to represent one side or another, each Village Court show is different, with different cases. No case is too weird or bizarre for them (apparently). 

The first case asked the question "Should one leave their spouse because they are practicing piracy"? On the side of the sanctity of marriage was Grimm. Margaery Malagrave spoke of the alleged lady pirate, and her relationships, and made a joke on the phrase 'Polly Pirate'. Reginald Waldegrave jumped in and said that "Polly Pirates is trademarked", a nod to the Polly Pirate Palooza show performed by members of the Crimson Pirates (at least one or two of whom were in attendance at Village Court that day). Anyway, it turned out the couples' vows had not yet been said, and the jury (the audience) found the pirate plaintiff not guilty.

Case 2 is where a young druid cosplayer claimed that Fortune Blunt was in on a scam the Vagabonds were pulling. Bailiff Grimm called Frith from the Vagabonds to testify, and she said that she and her fellow Vagabonds (Follentine Hilles, Mal Rose, and Nan Rash) do indeed perform together at Pub Sing, and that Fortune Blunt is not a member of the Vagabonds group. In any case, the druid was found to be exaggerating (and it sounded like a case of Blunt being in the wrong place at the wrong time anyway). Bailiff Grimm and Fortune Blunt won that case.

Case 3 was all about the importance of having a designated carriage driver. I think that about says it all. 

I then made my way back to the White Hart, in time to see Daisy O'Danny sing about Earl the cockerel, with silly jokes, wordplay, and innuendo. 

I then stayed for the Hooligans' late afternoon 'event' set, which has their 'big event' songs. After warming up with a short fast song (in this case, "Streams of Whiskey"), they then began "Finnegan's Wake", where the audience is told to clap along with the chorus, but stop clapping when the chorus stops (failure to do so is 'overclapping', meaning that according to the one rule of Irish music, you owe the band a round of drinks - they didn't make up that rule. Someone else did). As it was the first day of the season, a lot of people (as Kelso noted) were out of practice, and overclapped on the first verse.

Next came the biggest audience participation event, the Wildest Rover Singing Competition. This takes one of the best known songs in all of Renaissance Festivals, "Wild Rover", and turns it into a huge event where at a certain point, the audience is divided into three sections, and each section has its turns singing the chorus. At the White Hart Tavern, the sections are known as the Freaks on the Left, the Relatively Normal People on the Right, and the Mighty Mighty Pie Wedge (the last name due to the shape of that particular section of the White Hart audience). 

Once each section has taken their turns, they then judge the competition and give out the Worst Place Award, the Participation Award, and the Wildest Rover trophy. The Participation Award is the ONLY one that can be won via being generous to the Hooligans with refreshments and stuff - the other awards can NOT be bought and are awarded solely based on performance in the Singing Competition. 

On this occasion, the Relatively Normal People on the Right went first, followed by the Freaks on the Left and the Mighty Mighty Pie Wedge. I was standing in between the Mighty Mighty Pie Wedge and the Relatively Normal People on the Right, and I must say the Mighty Mighty Pie Wedge had quite the volume today. 

In the end, the Worst Place Award went to the Relatively Normal People on the Right, the Participation Award went to the Mighty Mighty Pie Wedge, and in a surprise result, the Wildest Rover Trophy went to the Freaks on the Left. There was a bit of confusion about this, which was addressed in Sunday's Wildest Rover Singing Competition, but I'm getting waaay ahead of myself.

Anyway, next up was Rattlin Bog. For those who've never seen the Hooligans do Rattlin Bog, they start out with the traditional lyrics (which are a '12 Days of Christmas' type of progression adding new items with each verse), but after they get to 'bed from a feather', they start making up new words (the first new word being a one-syllable suggestion from the audience). Each of them adds a new word to the progression. When one of them messes up - and they WILL mess up - that's the cue to hit the gong, and that member of the Hooligan is eliminated. The song keeps going until one is remaining, and if that one makes it through the final progression without messing up, they win the coveted Rattlin Bog medal. The song begins and ends with the tree (it doesn't have to make sense).

The first new word here was stag, inspired by Manny the Stag (mascot of the White Hart Tavern). From there, the progression continued until it ended up with 'tree from a bed and a bed from a tree and a tree from a song and a song on a breeze and a wind and the dust and a dust on the hair and the hair on the mane and the mane on the horns and a horns on a stag and a stag on a bed and a bed from a feather and a feather on a bird and a bird from an egg and an egg in the nest and a best on a branch and a branch on a limb and a limb on a tree and a tree in the bog in the bog down in the valley-o." 

Matt Schleigh ended up winning the Rattlin Bog medal, to the excitement of many. Wakefield was gonged at the last 'bed from a tree' and Kelso was gonged at the 'tree from a song'. 

Next up was Pub Sing, hosted by Pub Mistress Nell Quickly and Sir Richard Mondes. Pub Sing began with that traditional favorite, Health to the Company. Then the Vagabonds took the stage with "Old Black Rum", followed by the Adventurers with the old favorite, "Donkey Riding". Next came the first of several new songs, "Beigh Aonach Amorak" performed by the Weyward Sisters. 

After the Host's Toasts, John the co-host/Captain Red Beans of the Adventurers joined in with Sir Richard Mondes and Nell Quickly with "Country Life", a madrigal-esque cheerful song singing of the joy of living in the countryside. Next up was Idle Fancies (Viola and Violet Belgard) with "Jackie Said to Nancy",a Janie Meneely song about a sailor's reunion with the woman he left behind and how things get a little awkward. Afterward the whole ensemble got together for "Yarmouth Town".

Bardwin the Bard took the stage next for "Excursion Round the Bay", a song about a couple's unpleasant experience. Next up, Nell Quickly and Alys Overdun, the Tavern Twins, joined together for their variation on "Whiskey in the Jar". After Last Call, Nan Rash debuted a new song, the upbeat "Cuckoo Bird" which got a great many in the pub clapping along. 

The Adventurers had to be the ones to follow that one up, so Captain Red Beans did a little banter and parody, before they launched into "Retirement Song", a song about sailors' reasons for settling down on land. Next up, Idle Fancies returned with "Johnny Sands", a darkly comedic tale. After that one came "Step It Out Mary", which had a great deal of dancing (and swaying in the slower verse). Jack Ripley and company had a new song, "Dance With Everybody".

And speaking of new songs, Sir Richard Mondes and company had "1 2 3 4", a song about all those who make Pub Sing possible according to Mondes. It's yet another upbeat exciting, rousing song. And we weren't quite through with them yet, as before we move on to the slower, mellower and sentimental songs, we had the Vagabonds with the upbeat "One Last Drink", about Old John who rises from his deathbed for one last party with his friends.

The Weyward Sisters were up next with "Irish Eyes", which has been a favorite of many for the past few seasons. Then Millie and Viola Belgard joined Sir Richard Mondes for "Mist Covered Mountains", a sentimental Pub Sing favorite for quite some time. And speaking of sentimental Pub Sing favorites, Pub Sing concluded with "Wild Mountain Thyme".

And so concluded Saturday of Opening Weekend. Between this and Sunday, the 2025 MDRF season is off to a great start. It's great to once again spend time in good company enjoying so many wonderful entertainments.

And now, I go to finish up my writeup for Sunday.