Adaptor: Lee Hall based on the screenplay by Marc Norman and Tom Stoppard
Director: David Taylor
The writing in Shakespeare in Love is so witty and literate that it glitters. This is Tom Stoppard, much of whose work for the 1998 film Lee Hall has ably translated to the stage, at his sparkling best. As in Travesties (1974), arguably Stoppard’s best play, the script is threaded through with quotes and references thus becoming an affectionate send-up of theatre itself.
“Give me to drink, mandagora,” says Shakespeare casually in the inn. “Anon, anon,” says Viola to her nurse. “I’ll be revenged on the whole pack of you” declares The Lord Chamberlain. Add to this effortless ingenuity Paddy Cunneen’s elegant period music, played live in this production, and you’re on to a winner almost before you start rehearsals.
Tower Theatre is very good indeed at attracting fine new talent and three leading actors in this show are appearing there for the first time. Christopher Edge excels as Will Shakespeare, variously nervous, passionate, exasperated and determined. This is an accomplished actor on top of his game giving a totally convincing performance.
Kizzy Parvin is warm, soft and delicate – but feisty – as Viola, who wants to be an actor but can’t be by law, which, of course, she defies. She gives a well-judged contrast between the “real” Viola and her character’s ability as an actor, combining sweetness and gutsiness. Then there’s James Collins, who commands the stage as Ned Alleyn, who is directing Shakespeare’s new play with forceful panache – another outstanding performance.
Also in this rich mix is Vahan Salorian who leads the music from a stage-right alcove. He is a multi-instrumentalist who really makes violin, pipe, trumpet, and guitar sound convincingly Elizabethan. As with previous shows at The Tower, there are occasional cohesion and intonation issues with the incidental ensemble choral numbers (all settings of Shakespeare songs), possibly because Salorian is not visible to most of them thanks to the fan shape of the playing area. James Collins, though, stands out again as a talented actor-muso with a very pleasing tenor voice.
This production needs, and uses a big cast, ably directed by David Taylor to make the best possible use of space and to allow every delicious line. Christopher Lloyd-Jones, for example, gives us a nervous Henslowe, Nvaron R Anderson a Christopher Marlowe who lords it over Shakespeare and Victoria Flint a suitably haughty Queen Elizabeth. Also rather delightful are the dances choreographed by Rachel Berg.
Runs until 29 March 2025
The Reviews Hub Score
Warmly entertaining
