{"id":678,"date":"2023-06-07T00:38:51","date_gmt":"2023-06-07T00:38:51","guid":{"rendered":"https:\/\/stageraw.com\/remake\/?p=678"},"modified":"2023-06-12T00:46:56","modified_gmt":"2023-06-12T00:46:56","slug":"the-book-of-will","status":"publish","type":"post","link":"https:\/\/stageraw.com\/remake\/the-book-of-will\/","title":{"rendered":"The Book of Will"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

The Book of Will<\/em><\/strong>\u00a0<\/em><\/strong><\/h2>\n

Reviewed by F. Kathleen Foley<\/strong>
\nA Noise Within<\/strong><\/em>
\nThrough June 7<\/strong><\/p>\n

RECOMMENDED<\/em><\/strong><\/p>\n

Even though we are well aware that Shakespeare\u2019s First Folio was successfully published,\u00a0The Book of Will<\/em>, Lauren Gunderson\u2019s play about the Herculean effort to compile the plays into that folio, is surprisingly suspenseful \u2014 a gripping, edge of your seat yarn with enough plot twists for a\u00a0Masterpiece<\/em>\u00a0Mystery<\/em>\u00a0episode.<\/p>\n

The wild, eventful undertaking to salvage Shakespeare from the dust heap of history fuels Gunderson\u2019s well-researched, droll comedy-drama, currently at A Noise Within.<\/p>\n

The action opens with a posturing twerp (Kelvin Morales) humorously butchering the \u201cTo Be or Not to Be\u201d soliloquy from\u00a0Hamlet<\/em>. It\u2019s mere months after the Bard\u2019s demise, yet his immensely popular \u2014 and sadly bastardized \u2014 plays still play to turn-away crowds.<\/p>\n

Shakespeare\u2019s cronies and fellow players \u2014 Richard Burbage (Frederick Stuart), Henry Condell (Jeremy Rabb), and John Heminges (Geoff Elliott) \u2014are drowning their disgust in ale after witnessing that travesty. When the twerp shows up in the alehouse run by Heminges\u2019s daughter Alice (Nicole Javier), the histrionic Burbage \u2014 the foremost actor of his age \u2013 launches into a recapitulation of Shakespeare\u2019s most famous speeches \u2014 a masterful medley that sends the twerp fleeing.<\/p>\n

Alas, poor Burbage. He knew Shakespeare well. Not only that, he knew his plays by heart, so his sudden demise leaves his surviving friends wondering how the texts, many of which have never been published, will survive without his phenomenal powers of recall.<\/p>\n

Ever the starry-eyed optimist, Condell is intent upon chasing down every Shakespeare fragment extant, from sides to quartos to working drafts. The cynical Heminges, a former actor turned manager, thinks the effort is doomed from the outset, but his steadfast wife, Rebecca (Deborah Strang), chivvies him into soldiering on.<\/p>\n

As others join them in their quixotic quest, scraps of documents pile up \u2014 a blitzkrieg of snippets that would mystify the most brilliant puzzle master. It\u2019s the equivalent of a thousand-piece jigsaw \u2014 except the puzzle is all sky, no clouds.<\/p>\n

As is typical with A Noise Within productions, the design elements \u2013 particularly Frederica Nascimento\u2019s scenic design, Angela Balogh Calin\u2019s costumes and Ken Booth\u2019s lighting \u2014 are all first rate. Sound designer Robert Oriol\u2019s original compositions are essential to the overall ambience. Strang, Elliott and Rabb spearhead the excellent cast, while the ever-stalwart Stuart dominates the action early on in a tour-de-force scene. As the boozy, brilliant Ben Jonson, Alex Morris deftly substituted for regular cast member Chuma Gault.<\/p>\n

Co-directors Elliott and Julia Rodriguez Elliott plumb the play\u2019s humor while honoring its considerable melancholy. In the most moving passage, Condell consoles Heminges, who can\u2019t see a reason for living after the death of his wife. Condell movingly reminds Heminges of the essential role of theater in their lives \u2014 a beautiful testament to theater\u2019s restorative power in troubling times and a powerful reminder that, through theater, our stories can be retold and renewed for generations to come.<\/p>\n

A Noise Within, 3352 E. Foothill Blvd., Pasadena; Thur., 7:30 p.m.; Fri., 8 p.m.; Sat., 2 and 8 p.m.; Sun., 2 p.m. through June 4. (626) 356-3100 or\u00a0<\/em><\/strong>www.anoisewithin.org<\/a><\/em><\/strong>\u00a0\u00a0<\/u><\/em><\/strong>Running time: two hours and 15 minutes with a 15-minute intermission.<\/em><\/strong>[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”902″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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