Friends, family, and legacy. 'The Book of Will' teaches Seattle the meaning of life

In the wake of William Shakespeare’s death, two actors embark on an improbable journey to publish his complete works and ensure the playwright’s legacy lives on. Laughter ensues.

“The Book of Will” is a witty, historical-drama showing at Seattle’s Taproot Theater. It kicks off the Greenwood playhouse’s 48th season, while also introducing audiences to themes of friends, family, and friends becoming family. These themes will persist through all of Taproot’s shows this season.

With a well-paced first act, lively characters, and a bevy of Shakespeare references flying past you so fast, it’s hard to count them all, award-winning playwright Laura Gunderson presents a story that unfolds beautifully. I’ve read a ton of Shakespeare, and even I was unable to catch every reference. But the delivery, the pacing, and the energy of the performance keeps the audience engaged. My favorite moment occurs in the opening scene of act two, when the comedy is non-existent and we have two grieving characters bearing their souls in a discussion of life, death, God, and the importance of the arts.

My recommendation

“The Book of Will” is definitely worth seeing. If you are into the stage, this is a good show to ease into the new theater season. I’m sure there will be plenty of heavy stuff coming in the months ahead, so an engaging, heartfelt comedy is a nice treat to get folks back into theaters this year.

What to expect (spoilers)

This production is really fun. Even if you are not the biggest Shakespeare fan, there is plenty to connect with. Friendship, love, legacy, and honor are universal themes that are relatable to everyone. If you are Shakespeare fan, however, then you are in for a treat because this production is an ode to the legendary bard.

The play opens with seasoned actors, Henry Condell (Reginald Andre Jackson), John Heminges (Eric Jensen), and Richard Burbage (Nolan Palmer), sitting in the Globe Pub discussing a horrible rendition of “Hamlet.” The three friends are former actors in Shakespeare’s company and are livid that people are producing productions with Shakespeare's name that didn’t properly represent his work.

After a scene where the trio confront the young actor who played Hamlet so terribly, Palmer delivers a wonderful monologue to demonstrate how to properly embody a Shakespeare character. The audience vocally expressed appreciation for Palmer's artistic diatribe, but in the very next scene, we learn his character, Richard Burbage, has died. This spurs the last two remaining actors from Shakespeare's company, who are now the last two actors with true knowledge of Shakespeare's plays, to begin the seemingly impossible journey to collect and publish the complete works of William Shakespeare.

The first act was certainly enjoyable. The back-and-forth nature of the dialogue — the scenes taking place in the pub with chummy pals bantering over ale — was gripping, but there was something missing. There was a depth that was never quite reached. Great comedy needs to be paired with drama in the same way that sweet needs to be balanced with salt. The contrasting nature of pleasure and pain is what makes each sensation so impactful. The opening act of this production had all the highs, but the lows weren’t enough to create the necessary appreciation for the highpoints.

When Burbage died, there was a clear opportunity for drama. We had a group of old friends, still grieving the loss of Shakespeare, who are faced with yet another death. The funeral scene didn’t stick the landing. As an audience member, I didn't feel the loss. The eulogy given by Jackson was heartfelt, but it wasn’t sad. Then it was followed by remarks from Nik Doner, who was a delight as Ben Johnson, one of Shakespeare’s competitors, who ended the funeral scene with a joke. Admittedly, the quip went over well, and there was laughter throughout the theater, but in that moment there was an opportunity to present the gravity of the loss and it was instead glossed over.

The second act opened with a much needed shift. We learn that Heminges wife, Rebecca, played by Llysa Holland, has died. He is sitting on stage in the Globe Theater, with a single candle, having a conversation with her ghost. Throughout the first act, Godsey is a force and the engine that pushes her husband toward his goal of publishing the book. While he is practical and hesitant to take on the risky project. But she keeps him going and is the constant reminder that this book, that the plays themselves, belong to the world and must be preserved. And here, after her death, her spirit provides the final push that propels him towards destiny.

But it is the exchange that takes place after the ghost of Rebecca fades away that is my favorite moment in the play. Jackson and Jensen finally open up and we learn about Condell's deceased son. The two friends discuss God, life, death, grief, and most importantly what it means to be an artist and the importance of art. As the two friends, who are becoming family before our eyes, venture into the grand discovery that the purpose of art is to feel, for the first time in this production they made me feel. This was an excellent scene carried by two real-life actors, portraying fictional characters, who happen to also be actors. It took the audience into the depths of self-discovery and we witnessed these men discover purpose. This scene provided the balance that made the production cohesive. This moment rendered the audience silent and forced a collective reflection to wash over everyone in attendance. It is the moment that has lingered with me, and left me pondering: What it means to be a friend; the shared trauma that turns friends into family; the meaning of life; the experience of grief; and what it means to express and receive the arts.

Here’s who it is for

I want to say this is for everyone, but there is some explicit language. I should note that the dialogue is Elizabethan, so the mentioned expletives don’t land like traditional American curse-words, but they aren’t meant for the ears of children. People who have an appreciation for Shakespeare will love this play, so I highly recommend it for anyone who enjoyed English Lit classes back in school. As mentioned, it is a comedy, so if you are looking for a good laugh, those are plentiful in this production.

"The Book of Will", showing at Seattle's Taproot Theater January 24 to February 24.