reviewed at the Cambridge Arts Theatre on 5 November
It’s a delectable piece of froth which, as is only natural with its authorial pedgree, has mixed in some solid pieces of intellectual know-how to give it crunch as well as sweetness. This stage version by Lee Hall of the Stoppard-Marc Norman film script works splendidly in its own right.
As befits a co-production originating from the Bath Theatre Royal, director Phillip Breen has assembled a large cast deliberately brought into close quarters by Max Jones’ revolving set with its balcony and steep staircase. Tudor London was an over-crowded milieu; privacy was a luxury at any level of society.
You probably know that the action begins with would-be dramatist Shakespeare (Pierro Niel-Mee) experiencing a bad attack of writer’s block. His alter-ego Marlowe (Edmund Kingsley) has no such problem. Lurking around the floorboards, playing his own games (and all sides against each other), is teenage Webster (Jazmine Wilkinson) – not a nice child.
Niel-Mee gives us a rounded portrait of a young man beset by deadlines from theatre managers who know that they want (and think the public does also) as well as bills and family responsibilities he’s endeavouring to keep at a distance.
Imogen Daines is Olivia, a merchant’s daughter about to be traded into marriage with Lord Wessex Bill Ward), but yearning to be a actress – or should that be, actor? They make a thoroughly enjoyable hero and heroine, though it’s Olivia who in the end has to pay the heaviest price.
Swaggering the whole length of his gleaming red-clad legs is Edward Harrison’s Burbage (eventually cast most appropriately as Mercutio. Kingsley is his saturnine equivalent; their ends even echo each other.
Giles Taylor as Tilney, Master of the Queen’s Revels) doubles that increasingly frustrated functionary with the part of Olivia’s father. Rob Edwards and Ian Hughes make much of Fennyman and Henslowe respectively. Ashley Gale makes much of a stuttering player.
Also catching the eye – and the ear – are Geraldine Alexander doubling Viola/Juliet’s nurse and the imperious Elizabeth I (given an impressive entrance in the second act through the audience), Rowan Polonski’s Ned Alleyne, Ward’s Wessex and the musical score by Paddy Cunneen.
All in all, this touring production in partnership with Eleanor Lloyd is a thoroughly enjoyable antidote to the dark, dank days of late autumn and early winter.
Four and a half-star rating.
Shakespeare in Love continues at the Cambridge Arts Theatre until 10 November as part of a national tour with matinées on 8 and 10 November.