FringeReview UK 2024
Shakespeare in Love
Lewes Little Theatre
Genre: Adaptation, Classical and Shakespeare, Dark Comedy, Drama, Fringe Theatre, Historical, Theatre
Venue: Lewes Little Theatre Lancaster Street
Festival: FringeReview UK
Low Down
It’s a mystery. The world swirls in and out of set curtains: Marc Norman’s and Top Stoppard’s Shakespeare in Love adapted by Lee Hall and here directed by Gary Andrews blazes in a spectacle at Lewes Little Theatre till December 14th. The mystery’s in the ensemble, the production, its bewitching leads. It’s a mighty reckoning in a little room.
Review
It’s a mystery. The world swirls in and out of set curtains: Marc Norman’s and Top Stoppard’s Shakespeare in Love adapted by Lee Hall and here directed by Gary Andrews blazes in a spectacle at Lewes Little Theatre till December 14th. The mystery’s in the ensemble, the production, its bewitching leads. It’s a mighty reckoning in a little room.
Andrews worked as co-fight-director in the greatest production I’ve ever seen of this adaptation, which outshone the film and West End. That was Brighton Little Theatre last year (which rightly toured) and I make no apology for mentioning it: Andrews brings across some of its magic here. It helps he finds some outstanding talents.
London, 1593. Shakespeare (Cody Thacker, youthfully appealing and truthful) is uninspired by his latest effort (still in his head): Romeo and Ethel the Pirate’s Daughter.
Shakespeare’s boss Henslowe (Robert Hamilton, winningly fraught with high fluster) is threatened with torture by Fennyman (Simon Hellyer, mixing menace with wonder and fine restraint) who however softens when he realises what a play is; even more when he’s in one. Meanwhile Burbage (Liam Cooper, in magnificent Wolfitt mode) has commissioned a play from Shakespeare. Neither rival knows it’s the same play.
Will’s friend Kit Marlowe (the superb Tim Telford, all mercurial aplomb, silvery voiced, camp and braggadocio at once) badgers Will into inspiration, by being around when Will spies a young woman.
Viola de Lesseps (Jasmine Chance-Ramsay, palpably expressive and truthful in a look or gesture) has such a passion for the play she disguises herself and after young John Webster (as we discover, Susie James, fiendishly funny) is continually turned down by Will (but Henslowe sees something in him), young Kent (aka Viola) gets Romeo.
Viola in turn is promised to mercenary Lord Wessex. Chris Dangerfield, also playing accountant Frees is notably unpleasant, and like Thacker and Cooper, handy with a blade – shout out to the fight-director side of Andrews who revives memories of his work at Brighton Little. Wessex must marry for money, promised by Viola’s father, social-climbing Sir Robert (Shaun Hughes standing in for David Rankin at short notice is consummate, full of Capulet huffiness).
The most physically comic and touching scene is Thacker’s Will wooing Chance-Ramsay’s Viola by trying to improvise that sonnet (18) already aided by Telford’s Kit who in fact prompts him with new lines and even lifts him to the balcony to woo. It’s out of Cyrano de Bergerac too, Shakespeare a better pupil, taking on a new dimension.
Thacker and Chance-Ramsay not only kiss by the book. They improve on it with delicate playful eroticism: their vocal love-scene shielded from view, Chance-Ramsay enunciates “There. Is. Something. Better. Than. A. Play.”
Andrews has worked some telling vocal projection here. Even when the superb Ned Alleyn (also ‘persuader’ Lambert) of Harry Freeman is projecting Mercutio and ‘being’ Alleyn’s there’s never any ‘acting’: the voice is truthful, both stage OTT Mercutio, and natural.
Most reading this will know the dazzling life imitating art imitating life plot: how Will’s life darkens, how Kit’s fate rends him with guilt, how discoveries and blisses pile up and counter one another to pattern the play; as well as throw out sly proleptic signals, winks to Twelfth Night for instance and even the next play that WS actually wrote, A Midsummer Night’s Dream. And how Katie Clammer’s brisk Elizabeth I really is the Fairy Queen resolving all, regina ex machina.
The cast is consistently fine. Virginal Sam down for Juliet (Francesca Butler-King) puts on the right innocence with powder, star-struck when losing their cherry. Eliane Pigott’s Mistress Quickly is a wardrobe mistress of dispatch and rather more in the tavern scene. Claire Coull’s Nurse is never forced but warm-hearted and adroit. Her ‘oppo’ or stage ‘Nurse’ Ralph (Hughes again) is a stentorian “it’s about this nurse”. Tilney Master (or marrer) of the Revels is etched by sneer-voiced Paul Butler King.
As the virtuosic stuttering Wabash and truculent Boatman “I had that Kit Marlowe in my boat” and aspiring playwright, Nick Cooper brings gravelly presence to both parts. Nol, the Benvolio here is echoed in peace-making gambits by Darren Heather; and Alan Chapman’s makes a welcome return to acting: as hopeless overblown Robin, playing nervous Lady Capulet. Ross Gamble is moving as hapless actor Adam.
Lauren Brakes is a warm Molly with a moment of depth. Pigott’s Kate enjoys a few flirty moments. And Spot the dog is prone to leg-cocking.
It’s remarkable how simply Andrews’ and Rankin’s set works. Superbly carpentered, a wattled mini-Globe: balcony connected by two flights of wooden steps. Below their spaces four-poster beds or barges whoosh out. Balcony frontages, ceremonial partitions and brothel-ale house, are sublimely simple, versatile and with a few boxes all the stage needs. Trevor Morgan’s lighting too burns with candles and gulphs of dark as well as jocund day.
Andrews’ sound synchronises with recorder-playing. Kirstine Bowen’s and Susie O’Hare’s costumes dazzle in depth, with detail and adroit modes of rapid undress and dressing.
Telford, Freeman and Liam Cooper are superb, with others very fine. We return though to the lovers whose chemistry holds from first to last. Thacker as an appealingly fleet but shadowed Will, vocally in tune and youthfully ardent, quick-thinking, occasionally flummoxed, funny, or rapturous.
Chance-Ramsay is the most wondrous of all vocally. Her death scene as Juliet and all her Shakespearean speeches are not only vocally spellbinding, but so truthful physically – indeed she brings truth to everything – there’s silence as the couple take their last leave as stage lovers, and in truth.
Director Gary Andrews, Stage Manager Joanne Cull, ASMs Charlotte Grimshaw, Sue Heather, Trish Richings
Lighting Trevor Morgan, Costumes Kirstine Bowen and Susie O’Hare, Set Design Gary Andrews and David Rankin
Fight Direction Gary Andrews
