The Willing Dreamers Assemble The Book of Will

Disclaimer: Managing Editor Sierra Lidén was involved in the cast of this production of The Book of Will.

To some, “Plays hold more solace than priests.” To Henry Condell, (Adam Bloom), William Shakespeare’s works are not just scripts, they are a legacy worth saving. At Elmwood Playhouse, The Book of Will unfolds as a story of grief, the tension between idealism and reality, and the power of storytelling.

Set in 1628 shortly after the death of William Shakespeare, the play follows Shakespeare’s close friends and family as they work to preserve his writings. With limited resources and mounting pressure, they take on the monumental task of compiling the complete works of Shakespeare following the death of Richard Burbage (Ted Odell), a revered actor who had memorized every Shakespearean role he performed. Henry Condell and best friend John Heminges (Michael Fleischer) are at the heart of the story, navigating both logistical challenges and philosophical divides: Henry the idealist, John the pragmatist.

From one obstacle to the next, the pair juggle grief, passion, and opposition. Directed by Lisa Spielman and produced by Wendy Portney and Claudia Stefany, every detail is intentional, down to the Renaissance-style renditions of modern songs to transition scenes. One of the central conflicts revolves around piracy, embodied by opportunistic publisher William Jaggard (Ralph Bowers), who boldly declares, “Poets don’t have rights!” As these tensions unravel, Henry’s assertion that “These words are ours,” become a repeated theme on ownership, art, and legacy.

The cast excels at bringing a dialogue driven script to life. While the show is not a spectacle, the performances are compelling and grounded. Bloom and Fleischer share strong on-stage chemistry, convincingly portraying a friendship tested by loss and responsibility. Their wives, Elizabeth Condell (Amanda Bloom) and Rebecca Heminges (Meg Sewell), serve as emotional anchors, balancing their husbands’ shortcomings with strength and support.

Alison Costello delivers a solid performance as Alice Heminges, the outspoken daughter of John and Rebecca, who works as a barkeep and is never shy to speak her mind. Andrew Greenway is particularly impressive as Ben Jonson, capturing both the swagger and wit of Shakespeare’s famed rival with ease.

You may even recognize a friendly face in one of the townspeople, our very own Sierra Lidén (Susanna Shakespeare). She did not play around when moving set pieces too and fro.

Set designer Rob Ward recreates Shakespeare’s iconic open-air stage, with the action unfolding amongst the audience. This immersive choice makes viewers feel like flies on the wall, getting the chance to witness history in the making. Given the 360-degree staging, Spielman’s direction ensures that every seat feels engaged and included.

Costume Designer Claudia Stefany also shines. The garments look as if they were pulled straight from a museum, reflecting class distinctions among characters with ease. A playful and effective touch was the inclusion of modern apparel. Some pieces I spotted were Doc Martens, a baseball cap, and jeans. This costume decision seemed to serve as a reminder to audiences that Shakespeare’s relevance is transcendent of time, especially with popular modern adaptations such as 10 Things I Hate About You, She’s The Man, West Side Story, and even The Lion King.

At its core, The Book of Will presents storytelling as something akin to religion, a unifying force that connects people across backgrounds and generations. This message has the ability to resonate deeply, especially in today’s digital age, where genuine human connection can feel increasingly distant. As a reporter, this theme of storytelling is especially meaningful.

While some historical references and theatrical nuances may go over the heads of less experienced theater members (guilty!), the emotional core of the play remains accessible. You don’t need to be a Shakespeare expert to appreciate its message, though those with a passion for history and theater will find it especially rewarding.

In the end, The Book of Will reminds us:

“Not every good thing gets an applause and not everyone gets a legacy”

“Failing them is worse than losing them.”

“With Will gone and a legacy on the line, we are Will.’

For the “willing dreamers,” this production is a heartfelt tribute to the power of words and the people who fight to preserve them.

  elmwood playhouse, shakespeare, the book of will