Review: THE BOOK OF WILL at Denver Center Theatre Company

What if Shakespeare was lost to history?

But, really though, can you imagine? That would suck.

My current theatrical venture includes drinking beer in bars while performing cuts of Shakespearean classics. The Wit's "Shakesbeer" is what we call it, and if the standing-room-only crowds say anything, the Bard is relevant as ever. It seems like the spirit of passionate artists is what best keeps good ol' Willy Shakes alive.

That's essentially the premise of the Denver Center Theatre Company's world premiere production of The Book of Will, which theatre crowds might recognize from the 2016 Colorado New Play Summit. The work was commissioned for the Denver Center through playwright Lauren Gunderson.

The Book of Will, directed by Davis McCallum, takes inspiration from the true story of Shakespeare's first folio, mainly compiled by his friends and fellow actors Henry Condell and John Heminges a few years after Shakespeare's death, following the death of another actor, Richard Burbage, who seemingly held Will's entire repertoire in his head.

But in those days, actors weren't provided with full scripts, just the sides specific to their characters. This was to save from plagiarism, which was common in the publishing industry back then. As Condell and Heminges scramble to recover pieces of the works, many which had been lost in a fire, they eventually find a publisher who can handle the load, William Jaggard. Unfortunately, Jaggard notoriously published works without permission and was not very liked by Shakespeare.

The play is a bit of a love letter to the thirst of theatrical artists. The ones who drink in bars while reciting former roles. Those who only feel the best kind of comfort while on stage. That's what spoke to me most, this creative community willing to do anything to keep something special around.

What Gunderson brings isn't some tired history lesson. It sparks the type of ambition we've all felt while trying to keep something around. The story is both heartwarming and erratic, settling with moments of melancholy and chaos, peaking with a satisfying conclusion Scenic design by Sandra Goldmark is a star is its own right alongside a variety of eclectic performers.

Triney Sandoval's Burbage is the epitome of a Shakespearean performer who disappears a bit too soon from the action, but the absence of his energy is what propels the story. He plays double-duty as an equally satiating Ben Jonson. and Kurt Rhoades and Liam Craig as Condell and Heminges, respectively, bring the soul to the script. Rodney Lizcano as scribe Ralph Crane is perfectly peculiar, the opposite of what I'd expect from Shakespeare's first editor, but his eccentricities provide the character with exactly what he needs. You hope to hate Wesley Mann's William Jaggard, but he brings a complexity to the role, coupled with a charming portrayal of his son, Isaac, by Andy Nagra.

Much like when I walk into many Shakespeare productions, I prepared for something tedious and dragging but wound up engrossed in a story with relevant characters with a fascinating true story. I'm glad I didn't pass on this one.

The Book of Will plays the Ricketson Theatre with the Denver Center Theatre Company through Feb 26. Tickets at DenverCenter.org or (303)893-4100.

To post a comment, you must register and login.