Vulnerability Between Old Friends
Graphic Design by: KC Bragg
This past Friday evening, I experienced first-hand why Lauren Gunderson is one of the up-and-coming playwrights of our time. I rarely speak about venues where performances are held but this is a case where I feel it has relevance to the play I am reviewing. Old Hickory’s Lakewood Theatre reminds me of some of the Bohemian off-off Broadway theaters in New York City. There is nothing fancy about the facility but there is a heartiness to the place. A very “come as you are” space where you just know there is a history of great storytelling and community. This all checked out when I read the About Us section of their website: “They found the old Becker’s Bakery, located in the heart of the Old Hickory Community and positioned in one of the oldest buildings in Davidson County, had closed its doors. But in 1983, Lakewood Theatre Company renovated the old building, gave it new life and opened those same doors to the world of theatre.” I did not know much about The Book of Will prior to seeing this production but as I watched it unfold, I honestly could think of no better venue for which this story to be told!
As Katelyn Elvington points out in her Director’s Note of the program, “This play is, at its heart, a story about actors, real ones, who refused to let their friend’s world disappear. They didn’t do it for fame or money. They did it because they knew the work mattered…As a director, I’ve had the privilege of working with actors who carry that same fire. They rehearse after long workdays. They memorize lines between school pickups and late-night shifts. They dive into roles with joy, frustration, fear, and hope…They show up…for each other, the audience, and for the art.” As an audience member who knows nobody in this production personally, I could honestly tell that this cast has a great bond amongst them. Serving as, in a way, a modern-day version of The King’s Men themselves.
Something that immediately stood out to me was how consistent of dialects the majority of this cast had throughout the entirety of the production. Rae Phillips as Alice Heminges in particular. She also had wonderful chemistry with the drunkard Ben Jonson, brilliantly portrayed by Jack Carpenter. They had the audience chuckling as he confessed his “secret” love for her throughout despite it being unrequited. Phil Brady’s entrance towards the end of act one as the outspoken publisher, Willam Jaggard, was a welcomed breath of fresh air. Like him or not, Shakespeare’s comrades are in need of resources that only he can provide. Brady has impeccable comedic timing as he fumbles around for his cane. Other comedic standouts were Connor Olen in his role as Ed Knight with his annoyed comebacks and Blake Conover’s hilariously over the top portrayal of Marcus, the cheeky printer’s apprentice. I also particularly enjoyed Michael Gillette’s take on the role of Ralph Crane, scrivener of The King’s Men. He showed much growth as a character going from a man who lacks confidence to someone who genuinely displays his love and respect for Shakespeare’s genius with a humble boldness.
John Heminges (KC Bragg) is comforted in his grief by longtime friend, Henry Condell (John Carpenter).
Photo Credit: Tom Kiffney
The true highlight of this production for me came at the top of act two where we witnessed a moment of sheer vulnerability to the point that I found myself holding my breath. It’s rare to find scenes in theatre where two men, longtime friends, show such raw emotion during a time of great sorrow and grief. Bragg and Carpenter are stunning actors who take the fluid blocking of Elvington’s direction to a new level creating almost the suspension of time, showing an astounding mastery of their craft. I feel that this scene alone makes it worth the price of a ticket. For a show with so much humor throughout, I was not expecting such a moment of soul bearing bereavement. This is where the genius of Gunderson’s writing is undeniably brought to the spotlight as they discuss why storytelling means so much to not only the audience but to their own mental health. Something that all artists can relate to.
“History walks here, love is lived here, loss is met and wept for and understood and survived here and not the first time but every time. We play love’s first look and life‘s last here every day and you will see for yourself in it, or your fear, or your future before the place end. And you will test your heart against trouble and joy, and every time you’ll feel a flicker or a fountain of feeling that reminds you that, yes, you are yet living.”
Tanya Crandall Anderson continued this generosity of vulnerability in her portrayal as Anne Hathaway Shakespeare as she beheld the first printed copy of the collection of his beloved plays asking his old friends to read them out loud to her. Lastly, I must not fail to mention that the pre-performance announcement had me laughing out loud so kudos to whoever came up with and delivered that message. It really helped to set the tone for the whole show in a non-cheesy and refreshingly witty way.
I personally left the theater wanting to know more about the 1623 First Folio of Shakespeare’s works. If you are looking for a show that is stripped of all grandeur, will make you laugh, and touch your soul, I recommend Lakewood Theatre’s production of The Book of Will now playing through July 6, 2025. For more information, go to www.lakewoodtheatre.org.