Stage Review - The Book of Will (Taproot Theatre)
Stage Review - The Book of Will
Presented By: Taproot Theatre - Seattle, WA
Show Run: January 24 - February 24, 2024
Date Reviewed: Saturday, January 27, 2024
Reviewed By: Greg Heilman
What would life be like without William Shakespeare? Would our lives be as fulfilled without plays like Romeo and Juliet, or Macbeth? If we’re to believe playwright Lauren Gunderson’s hilarious and heartfelt tale of love, loss, and determination, life could be a lot different. The Book of Will, onstage at Taproot Theatre’s Jewell Mainstage through February 24, and directed by Taproot’s Producing Artistic Director Karen Lund, presents a reality in which the true works of Shakespeare were never collected and assembled together during his lifetime, and upon his death were subject to all sorts of piracy. As the story goes, following Shakespeare’s death, strange and inaccurate versions of The Bard’s works were being produced all across London and beyond, because there were no accurate collection from which actors and directors alike could pull. Enter John Heminges and Henry Condell, two members of the famed Globe Theatre King’s Men, the troupe most associated with performing Shakespeare’s work. They, along with fellow King’s Man Richard Burbage are aghast at what they’re seeing of their friend Will’s work and are determined to find and collect as much of Shakespeare’s original work as they can, fill in the gaps from their own memories of having performed these plays as much as they had during their friend’s life, and publish these works in the first official folio collection of the works of William Shakespeare. The play is a wonderful combination of fact and fiction, that not only tells the story of Heminges and Condell, who are steeled in their purpose, especially after the death of their friend Burbage, but also talks to the importance of storytelling as a necessity to our moral and social fabric as well as theatre as a sanctuary. It is a comedy and a tragedy wrapped together in a heartwarming tale that proves love and friendship transcend the toughest of challenges.
What strikes me the most about The Book of Will, beyond how downright funny it is, is that it has so much heart. And as humorous as it is, it never takes the subject matter lightly. Whenever one of the actors quotes one of Will’s plays, it’s done with the utmost reverence and respect. This group of actors understands the seriousness of making sure Shakespeare’s words are never considered thoughtlessly. This creates a kind of consistency with what the play is all about, making sure that the playwright’s words are accurately represented before being presented to the public. And if there is one scene that fully represents what The Book of Will is about, I submit the opening of Act 2. Eric Jensen plays John Heminges in the Taproot production, and his character is going through a rough spot. He finds himself standing on the stage of an empty Globe Theatre when the other half of his effort to collect Shakespeare’s works and publish them, Henry Condell, approaches the stage and joins him. Condell, played by Reginald André Jackson, allows John to do a little thinking out loud, contemplating why it is in times of stress, that he always seems to find his way to the theatre. What is it about the theatre that provides him such sanctuary when he needs it most? What follows in the answer from Reginald’s Henry Condell is perhaps the most passionate defense of theatre I’ve heard from the stage, and one of the most expertly delivered monologues of the season to date. This is a standout performance that doesn’t just speak to the importance of theatre as a salve in our lives, but also to how storytelling in general helps to create a safe space in which we can deal with our emotions and work toward achieving a peace within ourselves.
This production, beyond just Eric and Reginald as the leads, is well performed from top to bottom. The remainder of the cast is responsible for multiple roles, each highlighting the versatility of the members of the group. Melanie Godsey is both Alice Heminges, daughter of John, and Susannah Shakespeare, but it’s her Alice that shows off her strength as an actor. Alice runs the pub adjacent to the Globe Theatre where all of the local thespians gather nightly, and she isn’t afraid to stand up to the men, the character exhibiting an independence and strength that I have to imagine wasn’t well looked upon in this time period. Nolan Palmer plays Richard Burbage (and William Jaggard), a veritable encyclopedia of Shakespeare, having memorized just about every piece of work that he performed, pretty much the entirety of the catalog. Nolan exhibits a wonderful and boisterous stage presence as Richard and, contrary to that, a more unlikeable, but just as good, Jaggard. Speaking of Jaggard, the owner of the printing press on which Heminges and Condell are hoping to get The Bard’s first folio printed, his son Isaac, heir apparent to the printing business, is played by Christopher Clark. Christopher’s Isaac is a lot lighter in attitude then his father, a fountain of positivity, and this portrayal features Christopher’s best quality as an actor in my mind, his ability to bring people into his character, in Isaac’s case a likability that feels genuine. Ben Johnson (historically Ben Jonson), renowned in literary circles as perhaps the second most influential English poet (behind guess who?) is portrayed here as someone who is almost a competitor to Shakespeare, someone with a bit of a jealous streak for all of the attention Will has garnered, even after his death, but also someone who has a decent amount of respect for his colleague’s work. Johnson is played here by Nik Doner, in a role that is thoroughly entertaining. Nik grasps how to play the straight role, in this case the aloof but jealous playwright, and squeeze so much humor out of it. That’s the beauty of this entire piece, though, it’s actors playing other actors, but doing it in a serious way that seems to magically create a comic environment. The source material has a lot to do with it, surely, but I give full marks to this cast for delivering, and at the same time being agile enough to produce the right emotion needed for some of the heavier, or more poignant scenes. Case in point, the aforementioned first scene in Act 2. There is nothing funny about this interaction between Eric and Reginald’s John Heminges and Henry Condell, and they strike the proper chord there, but they’re then able to turn it around and lighten the mood subsequently without making the pivot seem obvious or contrived. These transitions feel smooth and natural.
The cast is rounded out by William Eames in multiple roles, including the town crier, calling out the roster of plays to be performed at the Globe, Andrew Litzky as scribe Ralph Crane, a smaller piece to the Shakespeare folio puzzle, but just as important, and Llysa Holland who, along with Nikki Visel predominantly play the wives of John and Henry, respectively. The women, as usual, are the voices of reason when it comes to their men and these two are no different. Llysa and Nikki guide their husbands, are their champions, but at the same time aren’t afraid to tell them how they feel. Karen Lund has assembled a powerful cast, here, who don’t just capture the tone of the piece through dialogue, but advance the play through their ability. Karen has also done a nice job here of choreographing this play through blocking that contains a lot of movement, but never makes the stage feel crowded.
There’s a level of quality in this production that goes beyond just performance as well. Mark Lund’s set, which represents the Globe Theatre, the adjacent pub, the printing office of Jaggard and company, and the Shakespeare home, changes only subtlety between these locations, with the key piece being a rotating piece that sets the context of each. Comedies such as The Book of Will rely on a pace to keep them going, slower for heavier scenes, but lively to carry the humorous ones, the latter of which there are many more, and this set with its ability to change from location to location quickly, supports that needed pace. The emotional balance is also kept by sound and, more predominantly, lighting. Michael Wellborn is the lighting designer here (Mark Lund takes on sound in addition to his work as scenic designer), and what he’s done in the Jewell Mainstage perfectly captures the necessary tone of each scene, very well done. Finally, on the creative side is the costume design of Nanette Acosta. I’m inclined to say there’s nothing special here, but of course I’d be wrong. The play is set in the Elizabethan time of Shakespeare, and Nanette’s costumes are very solid here in keeping with the time period. The costumes are complex, but designed and constructed very well. It’s probably understated, but producing costumes of this ilk, large and bulky, and having them fit well and allow the right level of movement in a show that requires it, is challenging, and this is where this design in, in fact, special.
The Book of Will, onstage now at Taproot Theatre and directed by Karen Lund, is the perfect mix, of fact and fiction, as well as humor and heart. The show, which makes one think what a world without an accurate transcription of Shakespeare’s work would look like, is at its foundation a testament to the importance of theatre and story as salve and sanctuary. The Taproot production features a collection of standout performance as well as an ensemble that feels like a family. It’s funny. It’s touching. It’s very, very good.
The Book of Will runs onstage Taproot Theatre, on the Jewell Mainstage through February 24. For more information, including ticket availability and purchase, please visit https://www.taproottheatre.org/.
Photo credit: John Ulman
