Lauren Gunderson’s 2017 play, The Book of Will, is a Shakespearean tale that takes place after the Bard dies. It would have been a tragedy if the King’s Men had not succeeded 402 years ago in producing that Book of Will, a compendium of Shakespeare’s plays that had never been done before. Instead, The Book of Will is a comedy that ends with the publication of the First Folio, one of the most influential books ever published.
After you see Promethean Theatre’s excellent production of The Book of Will, consider what the world of theater would be like if the King’s Men had not succeeded in their quest. Today’s theatermakers and theater lovers revere the plays of Shakespeare, which are produced hundreds of times every year all over the world. Had those plays not been compiled by the King’s Men and their team, most of the works of Shakespeare would have been lost.
Promethean’s production, directed by Beth Wolf, an experienced director of the Bard’s work, begins in the Globe Tap House, where three members of the King’s Men complain over their beer about the poor quality of performances that purport to be Shakespeare’s work. Richard Burbage, the great actor known for his performances of some of Shakespeare’s most important roles (Brendan Hutt), is especially outraged; he threatens the young actor who botched his performance of Hamlet. John Heminges (Jared Dennis) and Henry Condell (Ben Veatch) commiserate—and acknowledge that Richard is the man who knows all the speeches, even though most of them are not in printed form. Keeping their tankards full is Alice Heminges (Brittani Yawn), John’s high-spirited daughter.
The next morning, they learn that tragedy struck during the night. The great Burbage died in his sleep—and with him the living memory of Shakespeare’s stories. Henry speaks at the funeral and so does the poet laureate of England, Ben Jonson (a powerful James Lewis), who ends by saying, “Do not rest in peace, good friend. Rest in sound and fury.”
Later, as they realize the consequence of Burbage’s death, Henry Condell (Ben Veatch) proposes an idea to John: What if we collect all the plays and put them in a book? We would have to gather all the complete copies and bits and pieces of the others to form a collection of our friend’s work. They knew that some plays were available as complete works now. But many would have to be put together from prompt books (working scripts that are marked up by the director) and sides (the pages that actors use for their own scenes).
Henry cajoles John into joining him on this dream project, despite the time and expense it will entail. Their wives—Rebecca Heminges (Anne Sheridan Smith) and Elizabeth Condell (Sabine Wan)—are enthusiastic and urge them on. And so does Alice.
The King’s Men begin their work, with support from Ralph Crane (Jonathan Perkins), as the editor who will be responsible for the accuracy of the script versions.
They soon realize they can cobble together enough pieces to make 18 plays. And then they learn that a slightly shady printer/publisher named William Jaggard (Brendan Hutt) has already collected and is ready to publish 18 more Shakespearean scripts. Will they be able to make a deal with Jaggard to get the full work completed? How will the First Folio come to be a reality? It’s only with the dedication of the printer’s son, Isaac Haggard (Kevin Sheehan), that the dream will come true.
They ask Ben Jonson to write a poem to introduce the First Folio. Will he do it?
There are no spoilers in a work of this antiquity. You already know the answer to all those questions if you are in any way a lover of the Bard’s work. As the play nears its end, John and Henry present the first copy of the First Folio to Shakespeare’s widow, Anne Shakespeare (Anne Sheridan Smith) in Stratford.
Beth Wolf uses her great skill as a Shakespearean (she directs Midsommer Flight’s Shakespeare in the Parks each summer) to direct this cast of ten actors—Veatch, Dennis, Yawn, Hutt, Lewis, Perkins, Smith, Wan and Sheehan—who all are enchanting in their various characters. And so is Jesus Barajas, who has the thankless role of playing the Boy Hamlet speaking the defiled Hamlet text; he also performs as the Crier, announcing the plays to appear at the Globe, and as the printer in Jaggard’s shop.
Lauren Gunderson is also the author of Ada and the Engine, The Revolutionists, Billie Jean and other plays.
The flexible scenic design, enhanced by several movable pieces of furniture, is by Trevor Dotson with lighting by Jackson Mikkelsen and sound by Alex Trinh. Costumes are by Rachel Sypniewski. Erin Galvin is stage manager.
The Book of Will by the Promethean Theatre Ensemble continues through October 25 at the Den Theatre, 1331 N. Milwaukee Ave. Running time is two hours, including one intermission. Get your tickets here ($30 with discounts available) for performances Thursday-Sunday.
For more information on this and other productions, see theatreinchicago.com.
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