Planting Seeds of Wonder: Local Farming, Regional Agrotourism and the Enchanted Orchard Renaissance Faire

Recently, I composed a blog on my role as playwright, academic consultant and creative & theatrical director of two recent Renaissance faires, and I then followed up with a blog centered on the community spirit that imbued our first faire, Wyndonshire Renaissance Faire. This blog will take the second of our inaugural 2024 spring faires, Enchanted Orchard Renaissance Faire, as the topic of discussion, and continue discussion of the community efforts that went into putting this event together—at warp speed. In addition, I will discuss the educational and agricultural focus of this faire, which brought regional tourism to North Central Massachusetts and offered the opportunity to create a story that explores issues specific to local and sustainable farming.

The Gate Leading to the Fantasy Realm of Enchanted Orchard at our inaugural Renaissance Faire, 2024.

As I mention in my previous blog, after building the creative team at Wyndonshire, because of some uncertainty with respect to funding the project by the town of Winchendon, my wife, Rajuli, and I reached out to a local farm and festival venue, Red Apple Farm, owned by Al and Nancy Rose, to see if they might be open to bringing a Renaissance Faire to their business in the event that we needed a change of venue. After pitching the project, the whole team at Red Apple Farm was excited for the prospect, and once Winchendon determined they were able to move forward with the project, we agreed to produce a second “sister” faire with Red Apple Farm, with characters and plot lines intersecting with those at Wyndonshire. I began to conceive of a second fantasy realm, the agrarian kingdom of Enchanted Orchard.

Rajuli and the Nagashri Dancers at Enchanted Orchard Renaissance Faire, 2024.

Rajuli and my ability to produce a second large-scale Renaissance Faire was only possible with the help of our team, what became FaeGuild Wonders, and Red Apple Farm, our incredible partnering venue.  Red Apple Farm embraced our vision and helped shape and grow Enchanted Orchard into the incredible event that it was, ranked by a popular vlogger, Chelle Belle, as one of the best Renaissance Faire in New England last year (2024).  Al and Nancy Rose, the entrepreneurial owners behind the blooming success of Red Apple Farm, are some of the kindest and most collaborative people I’ve personally had the chance to partner with, and without their leadership, there would no Enchanted Orchard (and for that matter, no NorthFolk Nightmarket). They partner with local businesses, and are committed to growing regional tourism and community, which is deeply embedded in their mission and the way they run their business.

Orchard Wizard (Richard Fahey) with the Stewards of the Orchard (Al & Nancy Rose) at Enchanted Orchard Renaissance Faire, 2024.

In addition to Al and Nancy Rose, our Orchard Stewards, Enchanted Orchard thrived because of many other members of the Red Apple Farm team, including Sarah McLennan (who coordinated vendors and helped organize the event), Kirsten Killay (who manages the Red Apple Farm Cidery), Loryn Killay (who spearheads marketing and promotion necessary to advertise the event) and the Sams—Samuel Miller and Samuel Dosset—who constructed the picturesque towering gate the leads into the fantasy kingdom of Enchanted Orchard.

Kristin Killay and Alicia Pelkey at the Red Apple Cidery also known as the “Toadstool Tavern” at Enchanted Orchard Renaissance Faire, 2024.

To further highlight the level of Red Apple Farms integration into the event, their Cidery–renamed the Toadstool Tavern for Enchanted Orchard–featured all the different flavors made specifically for the faire. Many of these ciders developed for the event are now standard or seasonal options available throughout the year at Red Apple Farm’s Cidery. Moreover, the cider is a connecting point for our events, as it is one of the main economic exports of the Enchanted Orchard kingdom, and it was available at Wyndonshire as well as an imported drink from their neighboring kingdom.

Mt. Wichusett Witches gather outside the Brew Barn at Red Apple Farm during Enchanted Orchard Renaissance Faire, 2024.

Red Apple Farm also collaborates with a local restaurant, the Gardner Ale House, which manages the Brew Barn at Red Apple Farm. The Brew Barn is a cozy, tavernesque restaurant on the farm, which serves food and drink, and was crucial for the success of Enchanted Orchard’s second day (Sunday, May 5th, 2024) when the rain threatened to drown out the event. Because of the Brew Barn’s openness to collaborating, we were able to pivot and move many performance acts inside and out of the inclement weather. Although this required a major reworking of the schedule, we did our best to make sure each performer or group had at least one indoor show in case they were rained out during their showtime. While the rain did put a damper on some performances, the event was sustained by adding outdoor fires throughout the faire and bringing many of the performances indoor and the event was a success. Despite the weather, the turnout and experience from patrons on the second day was extremely positive and this gave us the added benefit of a learning opportunity with respect to what to plan for in the case of inclement weather in future.

May Queen (Tammy Dykstra), Knight of the Tree (Quinne Richards) and the Orchard King (Paul Taft), Enchanted Orchard Renaissance Faire, 2024.

I wrote an entirely new script for this faire, which consider a prologue to the first act which will commence this year. Enchanted Orchard Renaissance Faire highlights sustainable farming which was the foundation of agrarian life in the medieval world. The major conflict in this faire centered on the issue of conservation versus preservation. This takes the form of a heated debate between the Enchant Orchard nobility with the May Queen (played by Tammy Dykstra and Siobhan Doherty) and Duke of Thorns (played by Dave Fournier) arguing for the protection of the Thornwood and the creatures that lives there, who are part of the kingdom’s broader ecosystem. Alternatively, the Orchard King (played by Paul Taft and Gary Joiner) and Blossom Baroness (played by Jen Knight) contend that expanding the orchard would better provide for the people of the kingdom and foster economy growth for the realm while at the same time minimizing food insecurity throughout the kingdom. This tension is played out in both staged theatrical scenes and numerous immersive skits and side conversations had between members of the Enchanted Orchard nobility throughout the event.

Blueberry Princess (Melanie “Melegie” Long) and Prince of Leaves (Michael Barboza-McLean) reunite at Enchanted Orchard Renaissance Faire, 2024.

Toward this end, the Orchard King takes advantage of his royal authority to press upon the newly returned Prince of Leaves (played by Michael Barboza-McLean and Vajra Spring), advocating for the virtues of his proposed expansion of the orchard. Because the Prince of Leaves seems somewhat amenable to his ideas and influence, and seizing an opportunity to undercut the wishes of his rival, the May Queen, the Orchard King announces at the end of Enchanted Orchard’s annual Beltane Banquet, that he is betrothing his daughter, Blueberry Princess (Melanie “Melegie” Long), much to her sorrow and surprise, to his rival’s son, the Prince of Leaves, in an effort to “weave peace” in the realm and as a means to press his advantage on the young prince now enfianced to the heiress of the realm.

Knights of Lord Talbot’s Frank Walker and Cameron Hardy battle at the tournament melee in celebration of the Beltane Banquet at Enchanted Orchard, 2024.

However, because of the fast production of this faire, the script was centered primarily on the nobility, leaving many of the other characters to participate in a highly immersive and interactive character scavenger hunt, which invited patrons to find and receive specific items from cast members in order to earn a small prize. This encourage frequent interaction between character actors and patrons, and the activity was a huge success, especially with the kinderfolk who attend. This was coupled with a “knight’s quest”, which asked patrons to find a noble from each house and resulting in a knighting ceremony, conducted by the royal champions from the Knights of Lord Talbot. Moreover, the Sheriff of Thornwood (played by Jennifer MacLean), gave out citations through the day to fairgoers for various offense and Lord John Faustoff (Frank Walker) held a baronial court to deal out justice for crimes cited by the Sheriff, which might sometimes involve a short stay in the stockades.

Viking Jarl (Jason Sumrall) takes the Sheriff of Thornwood (Jennifer McLean) into custody at Enchanted Orchard Renaissance Faire, 2024.

As with Wyndonshire, the Green Sash Viking marauders raided Orchard Toward, while the Mt. Wichusetts Witches made secret bargains and brewed magic potions for a number of the Enchanted Orchard nobles, ending with a flash mob dance that led patrons to the final event at the faire, the community Maypole dance which brought performers, cast members and patrons together for a final celebration of spring and the planting season.

May Pole Dance and celebration at the inaugural Enchanted Orchard Renaissance Faire, 2024.

Some of the theatrical performance groups were familiar from Wyndonshire: such as the Harlot Queens, Phoenix swords, the Warlock Wondershow and LaLoopna Hoops. Many musical groups were at both faires as well, namely Meraki Caravan, the Shank Painters, XPresso and Dead Gods are the New Gods. However, there were some new faces at Enchanted Orchard as well, such as Skeleton Crew Theater [giant troll-puppets], Diva Di [Shakespeare drag artist], HEMA [historical European combat] and solo fire performers such as Samantha Lynne and Luna Faun. This year we welcomed some additional performing groups, including the Iconic Darin’ Divas [featuring Diva Di and other drag artists], Winds of Alluria [musical group], Mike OJ [magician], Finlay’s Fire Troupe [fire-spinning show], and Captain Tackless [tavern musician], Dume & Glume [improv comedy show], Misfits of Avalon [musical group], Bayt Al-Asad: House of the Lion [medieval Middle Eastern combat], and Combatant’s Keep [medieval joust show].

Skeleton Crew Theater’s trolls wander through the Enchanted Orchard Renaissance Faire. Image by Kit Catlett (May 4th, 2024).

The Orchard King made his surprise wedding between his daughter, the Blueberry Princess, and the Prince of Leaves, the son of his rival, the May Queen, at the end of last year’s faire. Enchanted Orchard’s second annual event picks up where last year left off, and this year features our second act, “The Romance of the Orchard,” in which a love triangle blooms and whispers of revolution and news of the fall of Wyndonshire spreads to all of high and low estate. If you came last year to experience the magic of our inaugural faire, we hope that you return for more wonders and delights. If not, and you enjoy immersive storytelling and modern medievalism, we hope you join us this year for Enchanted Orchard Renaissance Faire 2025—which brings together the local performing art and farming communities in North Central Massachusetts—and combines theater, music, comedy, performance art, interactive activities, family fun and an artisan vendor market.

Master of Arms (Keith Fisher) at the Knights of Lord Talbot Camp during Enchanted Orchard Renaissance Faire. Image by Kit Catlett, May 4th, 2024.

Fairegoers will be able to learn how to sword fight, try their skill at ax, throwing, ride a unicorn or catch a goblin hayride, watch a joust and medieval melee combat in both European and Middle Eastern traditions. This year, Enchanted Orchard will commence on May 3rd and 4th 2025, so consider saving the date, and I hope to see you there—just look for the wandering wizard! 

Richard Fahey
PhD in English
Medieval Institute
University of Notre Dame

Creative & Theatrical Director
FaeGuild Wonders

From Grendelkin to the NorthFolk NightMarket: Storytelling, Wintering and an Immersive Dramatization of Beowulf

My newly formed theater company, FaeGuild Wonders, having successfully organized two RenFaires last year, Enchanted Orchard Renaissance Faire (annual) and Wyndonshire Renaissance Faire (year one), was ready to pursue one of my bucket-list items, an immersive and interactive full scale theatrical production of Beowulf.  We pitched this idea for a winter festival centered on medieval literature to our partnering venue, Red Apple Farm, and the NorthFolk NightMarket was born. This event, to take place February 22-23, 2025 (from 3-9 PM EST), while expanded and redesigned, is in a sense a development of an older project, Grendelkin, which I began to conceive during my graduate studies as the University Notre Dame. With support from the Medieval Institute, Grendelkin debuted at Washington Hall in 2017, bringing together scholars, artists, dancers, musicians and storytellers to create an avant-garde interpretation of Beowulf centered on issues of monstrosity and heroism in the poem.

Al and Nancy Rose, owners of Red Apple Farm, the partnering venue for the NorthFolk NightMarket. Image by Rajuli Fahey (2025).

So far as creative director, I have only done fantasy theatrical medievalism at this scale: the “Wyndonshire Wedding” at Wyndonshire and “Seeds of Wonder” at Enchanted Orchard. And don’t get me wrong, I’ll probably mostly (or always) do fantasy in my theatrical medievalism. But in the NorthFolk NightMarket, I get the opportunity to explore some of my favorite works of medieval literature in a playful, interactive and public facing way. In many ways it’s anachronistic, and as my intention is to follow certain works of literature, the fantastic is imbued into the story and the spirit of the event.

My approach to authentic medievalism expressed in public theatrical events is not to focus on historical accuracy but to bring works of medieval literature to life for modern audiences and ways that are engaging, relevant and exciting. I also feel that the performances and music which is incorporated into the event, add layers to the NorthFolk NightMarket shows. For example, there are two songs included in the Beowulf show, one sung by Frank Walker, and another by Melegie (Melanie Long) that come from my translation or paraphrase of sections of farewell. In particular, the “Lay of Sigmund” is a versification of my translation, while Hildeburh’s song is an abbreviated redaction of her experience versified and accompanied by harp.

The main plot of the NightMarket’s theatrical production is the story of Beowulf, and a dream of mine realized. Beowulf is of course the subject of my dissertation, as well as much of my published scholarship, which centers on the Old English poem and the intersection between Anglo-Latin learning and Germanic lore, as well as tensions between Christian and pre-Christian ethos and worldviews in Beowulf. I composed an original script for the poem, some of which comes directly from my translation of Beowulf, and which imbues some scholarship as well as my own critical reading in this adaptation of the story. I also strove to elicit the humor I perceive in Beowulf, though irony in the poem is a topic of much scholarly debate and discussion. The cast includes the protagonists, Beowulf (Dave Fournier), Hroþgar (Gary Joiner), Wealhþeow (Leanne Blake) and Wiglaf (Mitchell Long), as well as supporting roles and characters from stories within the story, such as Hunferth (Dan Towle), Wulfgar (Devon Barker), Hondscio (Sezo Veniche), Æschere (Bryan Fallens), Hroþulf (Jack Praino), Hildeburh (Melegie: Melanie Long), Modthryth (Sylvia Sandridge), Hygd (Elizabeth Lassy-Glazier) and the Beowulf-burglar (Richard Goulette).

The Green Sash: Sezo Veniche (Hondscio), Gabrielle Emond (Sif), Andrew Hamel (Thor), Gary Joiner (Hroþgar), Christopher Lassy-Glazier (Weland), Brawn Beserker (Tyr), and Sara Hulsberg (Freya). Image by Rajuli Fahey (2025).

The story starts with Hroþgar’s boast and the terror of Grendel, until Beowulf arrives to slay his Danish demon in Act I. Ironically, and unwittingly, the hero performs a handshake exorcism upon the monster, inspiring Grendel to flee and rip off his own arm in his terrified retreat. Grendel’s mother is in Act II, and her story is centered on the horror of maternal experience in the heroic world of Beowulf and the sorrow of mothers within poem, in particular, how Wealhþeow, Hygd, Hildeburh and Grendel‘s mother all lose their sons (or will soon lose their son) throughout the narrative, and this dread and trauma frames the act as a prominent theme in the story. By the time we get to Act III, featuring the Beowulf-burglar’s theft of the treasure-cup and Beowulf’s wrath in the dragon battle, the focus is on hoarding and the plunder economy. In this way, I emphasize my psychomachic reading of Beowulf, especially his encounters with the monsters, into a performance that highlights the ironic comedy that underpins my reading.

The Green Sash, our Viking troop for the NightMarket, celebrating a raid on Orchard Town. Image from Enchanted Orchard (2024).

The NorthFolk NightMarket is about storytelling and wintering—entertainment while holding up in a hall or homestead in the north in order to survive the harsh, cold winter season. As an event designed to become an annual tradition, the plan is to center a different medieval literature every two years, and so we selected a story frame that would be consistent each year: witches from different literary and folkloric contexts, who are together plotting an Imbolc Sabbath while they observe, interact, and tell whatever medieval tale is being told that year.

Mt. Wichusett Witches in front of the Brew Barn at Red Apple Farm. Image from the GALA Music Festival (2024).

The Witches’ Sabbath includes well-known magic women from myth and legend, including Baba Yaga (Jessa Funa), Gryla (Katharine Taylor), Befana (Kellie Carter), Grimhild (Davyn Walsh), Morrigan (Chelsea Patriss), Medea (Lauren Robinson) and the Norns (Siobhan Doherty, Chrissy Brady & Kate Saab). The story frame is the organization of the Sabbath, and especially the tensions between these witches, who wish to invoke spring, and the Snow Queen (Jen Knight) and her frost fairy court, who wish to preserve the winter. In addition to our cast of character actor witches, a local performance group is also integrated into the theatrical show, the Mt. Wichusett Witches, and they have organized two dances for the Sabbath at the end of each day, which is Act IV, the final scripted act of the event.

Nikolaus Chagnon-Brauer, assistant playwright who scripted and organized the Yule Lad skits. Image from Enchanted Orchard (2024).

Accompanying Gryla are the Yule lads, from Icelandic folklore and cultural tradition, who promise to bring a bit humor to the event. This group has a number of immersive skits right in Red Apple Farm’s store, and a high school student and my assistant playwright for the event, Nikolaus Chagnon-Brauer, has taken lead on scripting these scenes. One of the joys of organizing this event has been collaborating with Nikolaus on this aspect of the winter festival, as doing so has allowed FaeGuild to carry out part of its mission to engage young people creatively and to build a team that is multigenerational.

Skeleton Crew Theater with a green dragon. Image from Enchanted Orchard (2024).

In addition to wandering witches, fairies and Yule lads, there will be marauding trolls, thanks to the puppetry of Skeleton Crew Theater another local partnering theatre company, as well as the Celtic goddess-made-saint, Brigid (Micayla Sullivan), the German demon Krampus (Sasha Khetarpal-Vasser), and Old Norse gods and goddess, including Odin (Richard Fahey), Freya (Sara Hulsberg), Tyr (Brawn Beserker), Thor (Andrew Hamel), Sif (Gabrielle Emond ), Loki (Tom Fahey), Bjorn (Lee Mumford), Weland (Christopher Lassy-Glazier) and Hel (Kerri Plouffe), many played by members of the live theater group the Green Sash.

Our Art Team for this event, led by Art Director Rajuli Fahey, and including Sylvia Sandridge (Costume Coordinator), Micayla Sullivan (Stagecraft Coordinator), Dave Fournier (Groundskeeper), and Gary Joiner, has endeavored to construct a world derived primarily from Beowulf and folklore. There will be the mead hall of Heorot, a haunted barrow, a path of exile, a monster mere, snow queen court and a witches’ den, in addition to many other set pieces based on myths and legends surrounding characters featured at the event.

Music Director Leanne Blake (front) with FaeGuild singers (Alex Deschenes, Chelsea Patriss, Sylvia Sandrige). Image from Wyndonshire Renaissance Faire (2024).

The NorthFolk NightMarket, as with Enchanted Orchard Renaissance Faire and the first year of Wyndonshire Renaissance Faire, has been a community effort. We are blessed to have so many exceptional and creative organizers as part of the FaeGuild Wonders team. One example is our Music Director, Leanne Blake, and the FaeGuild singers, who have put organized an incredible show that weaves together all the threads of the NightMarket, and which is sure to be a highlight of the events.

Immersive Director, Michael Barbosa-MacLean, who organized the FaeGuild Players, with Jack Praino (Hroþulf) and Ayden Mel (Yule Lad: Sheepcote Clod). Image from Enchanted Orchard (2024).

Additionally, for this event, we have added a new component, organized by our Immersive Director, Michael Barbosa-MacLean and the FaeGuild players, who will be on the streets of the NightMarket to bring patrons directly into the world of the faire. Other event organizers include our Jessa Funa (Community Coordinator), Amy Boscho (Fairy Court Coordinator), Tom Fahey (Sound Manager), Tal Good (Administrative Assistant) and Siobhan Doherty (Administrative Assistant). Without such an incredible team of creative partners, this inaugural event would not be possible.

The Harlot Queens, who will be performing as Danish Women in Heorot at the NorthFolk NightMarket. Image by Harlot Queens (2024).

The NorthFolk NightMarket features a market of artisan vendors, and an array of other performers including the Harlot Queens, Shank Painters, Winds of Alluria, Dead Gods Are the New Gods, the Iconic Daring Divas, the Phoenix Swords, the Warlock Wondershow, fire spinners and more. Additionally, there will be several historical demonstrations, including two historical combat groups, Historical European Martial Arts (HEMA) and Bayt Al-Asad: Middle Eastern Combat Arts (House of the Lion), which will educate festival goers on different historical sword-fighting traditions. There will also be specialty ciders, historical cooking and blacksmith demonstrations as part of the event.

Map made with Inkarnate, designed by Rajuli Fahey (2025).

In carrying on our tradition from previous faires, our focus is on community building and sustaining the arts, and we are honored to have been supported by so many community sponsors. In particular, we would like to thank Atlantic Tent Rental (for the discount and donated tent rentals), Market Basket (for use of their parking lot), the Armenian Church of Haverhill (for the beautiful wood donated to build the Hrothgar’s meadhall, benches and throne), Central Mass Tree Inc. (for providing firewood to keep everyone warm in the cold night), Eastern Propane (for providing gas for heat lamps needed in vendor tents), Killay Timber Company (for the wood for signage), Belletetes Lumber (for wood to build the set) and Magnolia Studio (for providing the cozy rehearsal space).

Organizing public medievalism events like this has been a dream come true. And I can say with certainty that the theatrical production of Beowulf at the NorthFolk NightMarket will be unlike any theatrical adaptation of the poem, and far from the usual treatments of the poem in popular culture, as it is derived from my own criticism and scholarship (and including others’ scholarship that has influenced mine as well). As such, the NorthFolk NightMarket presents the story of Beowulf as an ironic critique of heroism rather that a glorification of a warrior ethos (especially the desire for fame, vengeance and wealth) those very aspirations that so frequently continue haunt our modern world.

Further Reading

The Wyndonshire Wedding: Theatrical and Community Medievalism.‘” Medieval Studies Research Blog. Medieval Institute: University of Notre Dame (September 4, 2024).

Crafting a New Kind of Renaissance Faire: Theatrical Medievalism and the Aesthetic of Wonder.‘” Medieval Studies Research Blog. Medieval Institute: University of Notre Dame (August 14, 2024).

Fahey, Richard. “Grendel’s Shapeshifting: From Shadow Monster to Human Warrior.” Medieval Studies Research Blog. Medieval Institute: University of Notre Dame (October 27, 2021).

—. “Enigmatic Design & Psychomachic Monstrosity in Beowulf.” Dissertation: University of Notre Dame (2019).

—. “The Lay of Sigemund.” Medieval Studies Research Blog. Medieval Institute: University of Notre Dame (March 22, 2019).

Griffith, Mark. “Some Difficulties in Beowulf, Lines 874-902: Sigemund Reconsidered.” Anglo-Saxon England 24 (1995): 11-41.

Gwara, Scott. Heroic Identity in the World of Beowulf. Leiden, Netherlands: Brill, 2009.

O’Brien O’Keeffe, Katherine. “Beowulf, Lines 702b-836: Transformations and the Limits of the Human.” Texas Studies in Literature and Language 23.4 (1981): 484-94.

Orchard, Andy. Pride and Prodigies: Studies in the Monsters of the Beowulf-Manuscript. Toronto, ON: University of Toronto Press, 1995.

Schulman, Jana K. “Monstrous Introductions: Ellengæst and Aglæcwif.” In Beowulf at Kalamazoo: Essays on Translation and Performance, 69-92. Kalamazoo, MI: Medieval Institute Publications, 2012.

Vinsonhaler, N. Chris. “The HearmscaÞa and the Handshake: Desire and Disruption in the Grendel Episode.” Comitatus: A Journal of Medieval and Renaissance Studies 47 (2016): 1-36.