Review: THE BOOK OF WILL at Guild Hall Players
The production runs through May 24, 2026
THE BOOK OF WILL at Guild Hall
Wichita theatre audiences were treated last week as Guild Hall Players presented Lauren Gunderson’s 2017 witty yet poignant THE BOOK OF WILL for a four-day run. Gunderson’s other notable works include SILENT SKY, THE REVOLUTIONISTS, and MISS BENNET: CHRISTMAS AT PEMBERLY. Under the fine direction of Jeremy Buoy, THE BOOK OF WILL had its audience entertained, engaged, and applauding.
On a personal note, I admit it. I am not a huge Shakespeare fan. Never have been. Even as a student of theatre arts, a director and performer, the Bard’s works really aren’t my cup of tea. But I have come to appreciate his work, and this well-crafted production brings a new insight into the Bard’s work for me.
The storyline is quite simple. The play starts with the Bard’s actor friends, lamenting the state of affairs: the words live on, but mostly in their own memories. After the sudden death of the legendary actor Richard Burbage, Henry Condell realizes that all of Shakespeare’s works are at risk of being lost. Once the original players are deceased, no one will ever utter another of the Bard’s eloquent phrases again. His passing is the means for the story, and his loss makes the others recognize that if they don’t act quickly, it will be too late. The current pages filtering in and around London are chock-full of errors and half-finished pieces, which motivate Condell and his friend John Heminges to gather and preserve the complete works of their dear friend. Especially PERICLES!
Anthony Larkin-Valdez as Condell and Jonny Kline as Heminges are an incredible duo. Simply put, Larkin-Valdez radiates onstage. His performance is animated and hilarious, and he commands the audience’s attention. Kline brings a softer energy to his character as he is the sometimes-needed voice of reason to his sidekick’s animated outbursts. I was impressed with Kline’s emotionally raw performance. Together, these two are a perfect onstage pair. Their comic timing is unbelievable, and their heartfelt opening of the second act is one of the most moving performances I’ve seen.
The play provides enough historical context without ever being dry or mundane. Through the wild banter of pirated text, copyright laws, and the huge, monumental undertaking of compiling the folio, playwright Gunderson keeps it witty and dramatic. One of the most enjoyable moments comes when the actors burst into the pub, dumping every scrap and partially written line that they’ve found onto the table. Luke Jones’s Ralph Crane then arrives with full archival transcripts of several of the Bard’s plays. It’s an exciting moment that spirals the action forward.
Ethan Mowery is wonderful as Ben Johnson, a contemporary of Shakespeare’s and his friend and rival in writing. He gripes and criticizes his way throughout the play. There is complexity to his constant irritation, but he still respects the project even as he pretends not to.
Veteran actor Schuster plays William Jaggard, as well. Jaggard is a crooked London publisher that Condell and Heminges are forced to deal with. Schuster manages to be simultaneously cutthroat yet clueless. He’s a villainous businessman who is looking to make a quick buck.
Director Buoy’s cast also included the fabulous work of Emily Larkin-Valdez, Vonda Schuster, and Chelsie Daniel. These actresses remind us that Shakespeare loved his ladies, and they were no less witty or complex than their male counterparts. Larkin-Valdez is lovely as Alice Heminges, bringing loads of feminine charm and energy. Schuster has double duty as Elizabeth Condell and later as the flirtatious yet slightly resentful Amelia Bassano Lanier, Shakespeare’s Dark Lady. Her performances are always spot-on and captivating. In real life, Lanier has a lot to complain about, as she herself was a masterful and well-published poet who has been given little credit and is often overlooked. Daniel’s stage performance is always a joy to watch as she also has double duty, portraying both Heminges’ wife, Rebecca, and Shakespeare’s wife, Anne.
Others rounding out the superb cast include fine performances by Robert Brining, Braden Labrue-Layman, Owen Balman and Matthew Neises.
Through Buoy’s impressive direction, the show flowed nicely and never became dull or lifeless. His simple set design worked well and didn’t need to be elaborate. I must point out the incredible printing press that was created for the performance by Todd Reifschneider.
Costumes by Christy Railsback and Jane Tanner were marvelously colorful and stylistically diverse. The original music design by Robert Brining was spectacular and moving. I hope we hear more of his creations in the future. The lighting design by Cole Adams was splendid and helped make the show flow smoothly.
During the final moments of the show, line after line of Shakespeare is spoken aloud. It continues for quite a while, and the audience begins to wonder if it's too much. Only to realize that is the point and heart of the story. That’s exactly what our heroes were trying to save. Just when you think it’s over, another famous line drops. And then another. Just beautiful.
Next up at Guild Hall, Rodgers and Hammerstein’s classic THE SOUND OF MUSIC will run July 16-19 at 7:00 pm nightly.
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