'The Book of Will' Brings Shakespeare's Legacy to Life at the Curtis Theatre - Review
Running now through Jun3 21, 2026, 'The Book of Will' shares the spirit of Philadelphia at the Curtis Theatre.
I have never been a fan of William Shakespeare. I often call him, “Willie Shakes” because his writing style makes me twitch like nails on a chalkboard.
Thankfully, Lauren Gunderson’s ‘The Book of Will’, under the direction of Amanda Hallman at the Curtis Theatre in Brea, CA, is less interested in the Bard himself than the people who loved him, making the effort to preserve his legacy.
Guderson’s storytelling in the compilation of Willie Shakes 38 plays runs parallel to the Council of Nicaea in AD 325, as 318 bishops sifted through forgeries and authentic manuscripts dating back to the first century in order to bring forth the New Testament of the Christian Canon.
That level of philadelphia is what makes this play so engaging. Rather than placing Shakespeare on a pedestal, Gunderson humanizes him posthumous through the stories of those left behind. Even the characterization of Ben Johnson, played with pure intensity by Matt Cobb, shared my views…until he didn’t. Johnson spends much of the play balancing drunkenness with irritation, refusing to recognizing Shakespeare’s mass appeal.
At its core, ‘The Book of Will’ is a story about kinship. Following Shakespeare’s death, John Heminges and Henry Condell set out to collect and publish his plays before they are lost forever, especially after the loss of their fellow Kingsmen, Richard Burbage and eidetic memory. Kelly Franett gives Heminges is unsure but determination, while RigelKent Paden is the beating heart of the playas Condell. Running jokes about the lack of appreciation for “Pericles” become more than comic relief. Through Paden’s performance, they reveal a man whose love of theatre is matched only by his devotion to his fellow Kingsmen.
The emotional center of the production belongs to the women surrounding these men. Rebecca Leeds is the scene stealer of the evening as Rebecca Heminges. Her scenes opposite Franett create a marriage built on affection, patience and mutual respect. Genevieve Kauper complements that energy beautifully as their daughter Alice, moving effortlessly between sincerity and comedy whenever the moment is needs.
Family wounds also linger beneath the surface. Tessa Grantham gives Susanna Shakespeare a cold bitterness that speaks volumes. Even as an adult, she carries the pain of a daughter who spent much of her life competing with her father’s legacy.
The play never forgets to have fun with its subject matter. One of the funniest sequences comes courtesy of Donnie Bland, who gleefully hams it up as the young actor performing Hamlet in a hilariously terrible pirated version of the play. His appearances as the Theatre Barker and Marcus the Printer bring the same energy.
Despite his limited stage time, Robert Edward’s Richard Burbage, he instantly makes the room seems smaller. Edward is tremendous. Standing 6’6”, he is imposing figure is dwarfed by the personality he gives to Burbage. The irony is not lost as Angel Dumaplas’ diminutive stature still makes the character Ed just as large as Edward.
Doing double duty, Elizabeth Hunter handles the challenge of portraying both Willie Shakes widow Anne Hathaway and his mistress, Emilia Bassano Lanier. Eric Schiffer makes William Jaggard exactly the sort of fat cat audiences enjoy hating, while Dane Hobrecht serves as a welcome voice of reason as his son, Isaac.
‘The Book of Will’ showstopper is Danny Chase as Ralph Crane. Chase captures every contradiction within the character. Deeply insecure in his personal interactions, Crane nevertheless possesses complete confidence in his ability to preserve Shakespeare’s words. That internal tension’s manifestation makes him endlessly compelling and the most memorable performance of the night.
This production also succeeds thanks to the back of the house. Every design element supports the storytelling. Colin Lawrence’s sets invite the audience into the backroom where these discussions were held, while Heather Harless’ lighting and Kris Kataoka’s sound help establish the reality in the significance of these peoples compilation. Lisa Kataoka’s stage management keeps the ambitious production moving flawlessly.
Particular praise belongs to Aja Bell’s costumes, which function as characters in their own right. They immediately place audiences in Elizabethan England while giving each character a distinct identity. Jonathan Infante’s projection design provides an effective bridge, bringing the 17th-century into the 21st century.
For someone who has spent most of his life unmoved by Shakespeare, ‘The Book of Will’ proved to be a pleasant surprise. Hallman and her cast understand that the story is not only about immortal literature. It is about friendship, loyalty and the people willing to devote themselves to preserving art long after the artist is gone.
The fraternity behind ‘The Book of Will’ is what makes this production worth seeing, whether you’re a Shakespeare devotee or…me.
‘The Book of Will’ runs from now through June 21, 2026, at the Curtis Theatre in Brea, CA.
To purchase tickets for ‘The Book of Will’ visit: https://app.arts-people.com/?show=288864 or call the box office at: +1-714-990-7722
The Curtis Theatre is located at:
1 Civic Center Cir.
Brea, CA 92821
4.25 out of 5 ⭐️⭐️⭐️⭐️¼