English teacher William Kramer submitted the following review of the theatre’s production of Shakespeare in Love.
“Shall I compare thee to a summer’s day?” It’s not only one of Shakespeare’s most famous opening lines; it’s also the perfect entry point into Shakespeare in Love, adapted for the stage by Lee Hall. This production, performed in the Bryan High Blackbox, beautifully
intertwines themes and moments from several of Shakespeare’s works into a witty and romantic exploration of art, love, and imagination.
Walking into the Black Box, one immediately senses the magic of transformation: the dark, square space becomes The Rose Theatre. The intricate set design (with movable pieces, period-appropriate props, a functional trapdoor, and even a balcony) evokes the authentic spirit of Elizabethan playhouses. It draws the audience fully into the world of the play.
Truett Speier, as Shakespeare himself (our “Romeo,” if you will), commanded the stage with sharp wit, charisma, and emotional depth. Opposite him, Aubrey Jackson delivered a dynamic performance as Viola De Lesseps; she effortlessly navigated the layers of her role as
both Shakespeare’s muse and the disguised actor playing Romeo. Her energy and timing brought vitality to every scene.
Cody Wise’s portrayal of the cunning Lord Wessex struck the perfect balance of villainy and sophistication; his crisp diction and commanding presence made him a delightfully detestable antagonist. Micha Graves, along with Jillian Ezar as the Nurse, supplied consistent and well-paced comedic relief that complemented the play’s romantic tension.
Technically, the production excelled. Lighting transitions (from soft golds and whites to rich sunset hues of orange and red) heightened both the romance and the drama. The Celtic-inspired musical selections, featuring rhythmic drums, added a lively pulse that made it
hard not to tap along.
The behind-the-scenes artistry deserves special recognition. Under the guidance of skilled stage managers, every cue landed with precision, maintaining the fast-paced rhythm of comedy and conflict. Natalia Hernandez’s costuming was a triumph, complete with authentic period detail, gleaming swords, and a breathtaking gown for Queen Elizabeth. Speaking of the Queen, Tennyson Barton played her with commanding grace and razor-sharp humor, capturing both her regality and her wit.
Together, the cast and crew wove a seamless tapestry of Shakespearean allusion and heartfelt storytelling. Their collaboration (particularly the artistic and technical partnership of Taylor Speier and Forrest Gamble) might very well be unmatched in local theatre.
As this production proves, Shakespeare in Love is not only a celebration of love itself but also of the love of theatre. A humble reviewer could “perchance to dream” of seeing this talented ensemble tackle a full Romeo and Juliet or any other classic work they choose to bring to life.
