SHAKESPEARE IN LOVE – Original Screenplay written by Marc Norman and Tom Soppard; Adapted for the stage by Lee Hall; Directed by Terri McMahon. Produced by CU Presents and the Colorado Shakespeare Festival (presented at the Mary Rippon Theatre, CU campus) through August 1. Tickets available at 303-492-8008 or CUpresents@Colorado.edu
A recent conversation between Timothy Orr (Producing Artistic Director) and Terri McMahon (Director) in the words from the script: “Will Shakespeare has a play. I have a theatre. The [Rippon] is yours.” On behalf of all who have seen SHAKESPEARE IN LOVE by this time or will by the end of the run, we say “Thank you.” What a delightful way to spend a summer evening. Reveling in the performed fun of creating theater – “It’s a mystery.” Rejoicing that (even in our imaginations), Shakespeare had this kind of joy in his life. Laughing with our fellow Shakespearean lovers in the recognition of little Easter Eggs buried in this script that only Shakespearean lovers would recognize. And weeping at sorrowful partings . . . but at least, they are both alive at the end of the play. What a night!
In quick summation, a noblewoman, enamored of what she sees on stage, encourages her to audition for a role in a new as yet unwritten play by Shakespeare disguised as a male actor. Women being still not allowed on stage as it being too “unseemly.” She gets the role which throws her and Will Shakespeare into proximity and his discovery of her true identity, relieving him of his confusion over being drawn to this young “actor.” But, of course, because of their class differences, his marriage, and her impending betrothal to a lord approved by the Queen, it’s a doomed affair. However, the audience is treated to a “backstage” look at how theatre was created back in the day, the camaraderie of playwrights of the time, the agony of writer’s block, and the magnificent language of Shakespeare in the meantime.
Brandon Carter and Meg Rodgers, once again, get to spar vocally, live through hidden gender confusion, and find true love by playing Will Shakespeare and Viola de Lesseps, the lovers in this performance, after having fun with Orsino and Viola earlier in TWELFTH NIGHT. They have this love thing down pat by now. How wonderfully they blend their talents making the true lines of the true Shakespeare their own in the balcony scene and the death scene of ROMEO AND JULIET. They capture the flirtatious nature of their characters, the whimsy of their situation, the humor of intelligent adults, and the overpowering joy of young love. As Viola says in response to her nurse’s comment about a brand-new day, “It’s a brand-new world.” Will is the reason.
The lovers are ably supported by the actors and men of theatre surrounding them. Nathaniel Cushing has a way too small role as Kit Marlowe, fellow playwright and friend. Brik Berkes is the rather ruthless money man Fennyman who reluctantly provides funds for forthcoming productions yet gets caught up in the excitement. Sean Scrutchins is the desperate theatre owner of the Rose Theatre about to get his boots burned. Matthew Schneck plays the useless Lord Wessex, the man Viola’s father has determined she will marry. Tara Falk, who has fun as Olivia’s underhanded maid Maria in TWELFTH NIGHT, is rewarded with the even more fun role of Queen Elizabeth I in this production. Her astute comments to Lord Wessex about getting “plucked” made us all laugh.
Special attention must be given to CU student actor Aaron Klass who, in addition to four other roles during the course of the evening, takes on the part of the narrator who, with a long monologue, announces the text of the play they are going to perform. The poor lad is a stutterer and a reluctant participant in this work. But is a team player and will do his best. He begins hesitantly, stumbling occasionally, but finally gaining a little confidence, and finishes to backstage cheers and a big smile. It is a touching homage to all the under-blessed ensemble who go on night after night with short bits and unspoken business to add their part to the mystery of theatre. Thank you, Mr. Klass – you made us weep.
Kudos must go as well to the carpenters, painters, and designer (Matthew Crane) who gave us this remarkably versatile set that works beautifully for both TWELFTH NIGHT and SHAKESPEARE IN LOVE. A magnificent structure that becomes a tavern, a rehearsal hall, a theatre, a Lord’s home, and a garden for both productions. Also our own Meghan Anderson Doyle did a yeoman’s work on the costumes which, in turn, were incredible royal garments for Queen Elizabeth I, street clothes for the players with costumes bits as needed, and quick-change clothes for Viola, who with amazing degrees of speed, transformed from woman to male actor and back.
This is a delightful Shakespeare-adjacent love story that will make you laugh out loud, smile as you get the subtle jabs at familiar Shakespeare lines and situations which seem to suggest how he got many of his famous lines and bits of business, and ultimately, weep at the fate of Shakespeare’s most famous lovers. This one is selling out fast; get your tickets NOW.
A WOW factor of 9!!