Saving Shakespeare, one page at a time.
If you’ve ever wondered how we ended up with Shakespeare’s greatest hits — Macbeth, Twelfth Night, As You Like It — we have a few theater friends from the 1600s to thank. The Book of Will, now playing at Ross Valley Players, tells their story with warmth, wit, and a whole lot of heart.
The play opens with a problem: Will Shakespeare is gone, and half his plays are scattered, misquoted, or just plain missing. So two of his fellow actors set out to track them down, page by page, and preserve them in what became the First Folio. It’s part detective story, part backstage comedy, and all love letter to the power of storytelling.
Director Mary Ann Rodgers keeps the pacing light but grounded. You’ll laugh, probably tear up once or twice, and leave reminded that theater isn’t just about what’s on the page — it’s about the people who keep the pages from disappearing.
While the story follows two main friends of Shakespeare, this production is absolutely an ensemble piece. The cast is strong across the board, with actors stepping into multiple roles — printers, poets, pubgoers, and players — and giving each moment real presence. Fred Pitts and Malcolm Rodgers anchor the narrative as Henry Condell and John Heminges, Shakespeare’s loyal compatriots. Marty Pistone brings theatrical flair to both Richard Burbage and the blustery William Jaggard, while Steve Rhyne easily navigates the quieter corners of the script as Ralph Crane, Barman #1, and Francisco.
Sean Mireles Boulton (Isaac Jaggard / Ed Knight), David Smith (Edward Dering), and Michael-Paul Thomsett round out the core group with strong turns. Thomsett gives a sharp, dry-edged performance as Ben Jonson — Shakespeare’s longtime rival, reluctant admirer, and, in this telling, something of a poetic grump with a conscience. He adds tension and bite to several scenes, grounding the humor with just enough acid to keep things honest.
The women add emotional depth and grounding: Cathleen Riddley (Rebecca Heminges / Anne), Kelly Rinehart (Elizabeth Condell / Emilia), Jannely Calmel (Alice Heminges), and Raysheina De Leon (Susannah / Fruit Seller / Bernardo) all give rich, layered performances. Sam Hjelmstad handles several roles — Marcus, Boy Hamlet, Crier, and Horatio — with clarity and presence, while Ben Vasquez moves smoothly among his parts as the compositor, Marcellus, and Barman #2.
Design-wise, the show looks great without trying too hard. Ron Krempetz’s set feels sturdy and lived-in, Valera Coble’s costumes are on point, and Billie Cox’s music and sound add just the right tone. Lighting by Ellen Brooks shifts scenes with elegance, never shouting for attention.
Movement by Elena Wright and choreography by Jennifer LeBlanc (who’s lived this play inside and out) give the actors room to breathe and the audience moments to lean in.
Ross Valley Players continues its successful relationship with Lauren Gunderson’s work — this is their third Gunderson production — and The Book of Will is another win. It’s a backstage story that doesn’t need to be flashy to be unforgettable.
Showtimes: Thursdays–Saturdays at 7:30 p.m.; Sundays at 2:00 p.m.
(No performances May 29–30; special 2:00 p.m. matinee on Saturday, May 24)
Tickets: $35 general admission; youth and member discounts available
Venue: Barn Theatre, Marin Art and Garden Center, Ross, CA
Info: www.rossvalleyplayers.com | boxoffice@rossvalleyplayers.com
This show doesn’t just tell you Shakespeare mattered — it shows you what it took to make him matter for 400 years and counting.
| A heartfelt, theatrical toast to Shakespeare — and the determined friends who kept his plays alive.
|
