The Book of Will

Set after the death of playwright William Shakespeare, The Book of Will is a mostly faithful retelling of how those nearest and dearest to him compiled and published his work to keep their cherished companion’s ideas and memory alive. With thoughtful direction by Janet Noble, The Book of Will reminds us that legacies are intertwined and highlights the profound impact that people have on us.

Whilst the loss of loved ones leaves many holes for the characters, there seems to be a bit of an empty space when it comes to the ensemble’s sound design. In performance, they do contribute to some ambience, particularly at the beginning of scenes, although a much more sustained soundscape could help evoke even more mood and tension within scenes.

The performances of the Bard’s work throughout the play are captivating. I appreciate viewing his life’s work through a different lens. It was not necessarily Will’s own work in the end, but through the hard labour of those who loved him, we are still able to find wisdom in his words today. The show walks the tightrope between comedic and cathartic incredibly well. This is due in large part to the engaging cast.

Paul Kay as the overprotective but caring John Heminges, Ian Mortensen as the heart-strong Henry Condell, and Allan Burne as Richard Burbage (and other characters) are certainly highlights. Sylvia McKenna is excellent as Alice Heminges, and I would argue the crux of the story. Towards the end of the show, Meredith Dooley has a touching performance as Anne Hathaway Shakespeare. Like the compilation of Shakespeare’s work, the entire cast works together to provide us with a show as thought-provoking as the man this show precedes.

Before this review slips from your memory like what would have become of Shakespeare’s plays, I’d recommend heading to Gryphon Theatre at once to experience Stagecraft Theatre’s poignant production of The Book of Will yourself.