Stage Review - The Book of Will (BPA)

Stage Review - The Book of Will
Presented By: Bainbridge Performing Arts (BPA) - Bainbridge Island, WA
Show Run: March 08 - March 24, 2024
Date Reviewed: Friday, March 07, 2024 (Preview Night)
Reviewed By: Greg Heilman

The are some aspects of being a critic that have both pros and cons. The more shows one attends, the higher the likelihood that a critic will see different versions of the same show, though it’s rare to have that happen in a season. If you’ve followed the Sound on Stage’s coverage during this current season, or have read my previous reviews, you’ll recognize The Book of Will from my interview with Taproot Theatre’s Artistic Director Karen Lund, who also directed that theater’s version of the show, or you may have read my review of that production. That was my first experience with Lauren Gunderson’s story about the creation of the first folio of Shakespeare’s work by members of the famed troupe known as The King’s Men, shortly after the Bard’s death. And while it may seem as though seeing another production of the same show could be considered redundant, there’s definitely a plus side to it. Familiarization with the plot, and the story’s twists and turns means that I can find the common denominators between productions, the pieces that are specific to the words or direction on the page in order to understand the playwright’s intentions. It also allows one to view each performance, both ensemble and individual, to see the unique way in which actors make certain characters his or her own. Seeing a second production lets the critic also understand and appreciate the previous show as well, not to compare, but rather to gain a better understanding of the work that each of these actors puts in a particular portrayal. The current incarnation of The Book of Will is onstage at Bainbridge Performing Arts’ Buxton Center, directed by Kate Meyers and running through March 24. I attended the preview performance on Thursday, March 7 (the show opens on March 8) and came away incredibly impressed by the quality of this production, from set design to performance, and everything in between.

There is a lot to like about the Bainbridge Performing Arts production. The Book of Will is most definitely a comedy, but at no point should anyone expect it not to have heavy moments. Yes, it’s the story of the gathering and collection of the works of Shakespeare after his death by his friends in order to get them published, but at its heart The Book of Will is a love story and tribute to theatre and storytelling. This version is on target when it comes to capturing both the humor and the heart intended by Gunderson’s work. The ensemble is excellent, relationships and conversations feel genuine and real. The three surviving King’s Men who are so aghast at the pirated versions of their friend’s work being presented on stage after his death are John Heminges, Henry Condell, and Richard Burbage. Burbage is played by Steve Lambert, Condell by Matt Eldridge, and Pete Benson plays Heminges. To watch the interactions between the three of these actors as an audience is to feel like we’re in the room with them, in this case in The Globe Taphouse or the Jaggard’s Printers, or any number of other places depicted in the play. There is such a natural cadence between them, to the extent that when there was a foible during the preview, it was covered as if it was part of their actual conversation, these three are such a treat to watch. Because of the nature of the play, the three carry much of the storytelling load here and as such they don’t just deliver the humor, but also the tougher pieces as well. In fact, the absolute best scene in this play is toward the beginning of Act 2, after a pretty heavy moment, when Pete Benson’s Heminges is alone on the Globe stage save for a single lighted candle, when he’s joined by Matt Eldridge’s Henry Condell. This particular scene may be the best justification I have ever seen for the existence of storytelling and theatre, and needs to be delivered well for the emotional punch of The Book of Will to work. It’s an tough scene to watch when done well, and this pair does it as even better than I had hoped. The grief Pete displays in his character during this scene is palpable, it resonates through the theatre, a pin drop moment, the kind you would hold your breath for until it ends. And Matt as the supportive friend is equally good, delivering his monologue about the importance of theatre and story as a salve for our darkest times in a way that makes you want to jump up and applaud in gratitude. Just make sure that the scene is over before applauding if you’re so inclined when you see the show. This scene is the bellwether for the quality of The Book of Will, that one scene against which you can judge the amount of pure emotional impact this show can have, and the pair of Pete Benson and Matt Eldridge are up to the task, and then some.

Meanwhile, Steve Lambert does double-duty here, which is common for The Book of Will, as Richard Burbage and printer William Jaggard. Steve’s Burbage is excellent, the passion that he applies to this character as he delivers his lines from the many Shakespeare plays that his character led onstage, is just wonderful. In fact, if I saw that Steve’s Burbage was reprising one of these roles, I myself would be first in line to see it, I believe it would be that good. Layered performances such as this, where an actor plays another actor, who in turn plays a character onstage are not easy. It’s not Steve Lambert playing Hamlet, it’s Steve as Burbage playing Hamlet, and Steve is excellent in performing this. His Jaggard, a completely different kind of character, is equally good. More vulgar and a bit of a shyster, his Jaggard is fun to watch and in wonderful contrast to most of the other, more likable characters in this show.

Behind every good man is a good woman, or in some cases two. Heminges is supported by both his wife Rebecca, played by Ali Lovie Zollo and his daughter Alice. Alice, an “alewife” at The Globe Taphouse, is played by Josi Twigt in a portrayal that is very well done. What I like about Josi’s performance is the confidence that her character has, something that may not have been achievable during Shakespeare’s time, but Josi adds this to the role, making it feel like a more modern take and one that is welcome. Josi has a presence onstage that depicts authority, and in her character’s role of the supporter of her father’s work, it works nicely. Ali’s Rebecca doesn’t have quite as much stage time as some of the others in the cast, but her piece at the beginning of Act 2 is not to be missed and sets up the aforementioned critical scene that Pete and Matt perform so well. Amy Jo LaRubbio is Elizabeth Condell, wife of Henry, and someone who it feels like is his strength. Amy Jo works very well with Matt as wife and husband, especially when they’re a bit flirty with each other.

Other cast members include the younger Jaggard Isaac, played here by Max Martina, Gary Fetterplace as England’s Poet Laureate and Shakespeare’s self-proclaimed competitor Ben Johnson, and Fred Saas as scribe Ralph Crane. Isaac Jaggard is his father’s son, yes, but that’s where the similarity ends. Max captures the challenges pulling at him, his love of Shakespeare and desire to make the Bard’s work available to the public in its authentic form, and the loyalty to his father. Meanwhile, Gary’s Ben Johnson is, for me, a real highlight. He’s a heavy drinking philanderer and a self-appreciating poetic genius, and Gary’s performance here is the funniest of the lot. Ralph Crane as a character has seen more of Shakespeare’s work come across his desk through his translations and transcriptions than perhaps anyone else. Crane is an important character to the plot, but at the same time is a bit self-deprecating. Fred exudes Bob Cratchit vibes in his Ralph Crane, a truly likable character. Rounding out the supporting cast, each in multiple roles, are Olivia Opalski, Karyn Rondeau, and Ashley Corbaley. These three fill out the cast nicely, covering their roles with as much aptitude as the leads. There’s a level of quality across this entire ensemble that shows how well Kate Meyers has cast this show.

Beyond the cast, the way that the production has been put together is mostly very good. The set sprawls across the stage of the Buxton Center, predominantly representing the interior of The Globe Taproom, with projections and scene specific set pieces utilized to provide the detail around other locations. The projections do a nice job here, the screens themselves shaped like scrolls, and the visuals that resemble pencil sketches of the locations’ interiors add a nice touch. Another nice touch is the level of detail on the stage and the number and variety of props onstage that serve as the backdrop for the taproom. The entirety of the stage is used nicely, Erik Furuheim’s design feels larger than the stage is, and Rob Falk’s lighting does a nice job to provide mood and focus, though there are times when certain actors enter the stage in the dark and the spotlight takes some time to catch up to them. And on the set and lighting, the one area of this that I feel could be improved is in the set changes. Lights go down at the end of a scene, a few times a too abruptly in Act 1, and what follows is akin to ants descending on the stage to change out the sets, each actor coming onto the stage to collect, deliver, or move set pieces. While the actors do their best to stay in character during these changes, with the low level light required for them to see what they are doing, it feels too obvious, which makes some of the changes feel a bit long. Finally, on the creative side, kudos to Kristin Bradberry and her costume design. The costumes don’t just feel period specific, but there seems to be a consistent style among all of the characters when it comes to dress. The dresses are big, the male costumes layered, but there doesn’t appear to be any restriction to movement, very well done indeed, and very well done across the entirety of the creative team.

The Book of Will is an historical play that is a loving tribute to theatre and storytelling as told through the eyes of Shakespeare’s friends trying to collect his works and publish them for public consumption. It’s funny, it’s sad, it’s very well written, and it’s performed wonderfully by this BPA cast. The cast, under the direction of Kate Meyers truly has a love for this work and that shows in their onstage relationships, their passion, and the absolute quality with which they deliver the material.

The Bainbridge Performing Arts production of The Book of Will runs onstage at the Buxton Center on Bainbridge Island through March 24. For more information, including ticket availability and purchase, visit https://www.bainbridgeperformingarts.org/.

Photo credit: Adam Othman