Aug 18, 2013 ... been Shakespeare's secret flame. Throw into the mix a sassy string quartet (three
violins and one cello) featuring Stefani Collins, Sarah ...
press » William
STOCKHOLMS MUSIKTEATER NYTHEATRE.COM
by Gianfranco Lentini · August 18, 2013 1592. The end of the Renaissance is rapidly approaching, and the Baroque period is about to take the stage. Henry VI (Parts I-III) has been publicly performed, and the audience cries for more. William Shakespeare picks up his quill, writes Richard III into immortality, and this is where our story begins. William, the “one-man [biographical] musical about the Shakespeare you don’t know,” strikes while the iron is hot at the 2013 New York International Fringe Festival. Book, music, and lyrics in Swedish by Jan-Erick Sääf, translated into English by Owen Robertson, and directed by Andres Boonstra, this production is a testament to why [cue the music] “everyone goes to the theatre!” William tells the story of the creation of William Shakespeare’s 154 sonnets and delves in between the lines to unravel the mystery that was Shakespeare’s love life. At the center of a love triangle, Shakespeare finds himself torn between the notorious Dark Lady, who’s identity is still unknown today, and Henry Wriothesley, the Earl of Southampton and the man who many experts today believe may have been Shakespeare’s secret flame. Throw into the mix a sassy string quartet (three violins and one cello) featuring Stefani Collins, Sarah Koenig-Ploskier, Caterina Longhi, and Bridget Pasker as well as the one and only Shakespeare with a Swedish flair (Jonas Nerbe), and this musical defies conventions that the legendary playwright himself would have deemed impossible. Avant-garde in nature, this production of William transforms the playing space into the stage of the Globe Theatre. Traveling from London to Scotland and back, the audience is taken on a journey with Shakespeare where we meet those most important to him, notably Queen Elizabeth, Richard Burbage, and the antagonistic Christopher Marlowe, who has called our protagonist an “upstart crow” and a “beauty queen with feathers.” Displaying costumes and a set both bohemian and anachronistic for Shakespeare’s time, a pallet of red and black gives this musical an ‘80s punk flair that’s irresistible to look at. While the women of the quartet wear bright red hoopskirt frames, winged eyes, and teased hair, Nerbe sports an open shirt with rock-star, leather pants and a single pearl earring. If this production isn’t the definition of rock opera, I dare you to show me what is. Singing his way through his sonnets, the audience develops a new understanding - if not new, then reawakened - for what it is Shakespeare may have been trying to convey centuries ago. We watch him ride both the highs and lows of his career and love life explaining one moment, “love and hate seem so close to each other,” and questioning the next, “Why is the world so hard, cold, harsh?” However, the audience never tires hearing Nerbe sing and the quartet play. Abiding strictly to the musical theatre conceit that one sings only when words aren’t enough, William perfectly times every song leaving us wanting more and never saying oh no, another song... Finally, as Shakespeare finds the will to pick himself up and write another play, it’s time for us to leave this playwright who we’ve become so attached to in 90 short minutes. Standing before us, Nerbe takes one last look at his audience, or rather his friends, and entreats us to who Shakespeare truly was: “I, William, a lover, a fool, a poet, a murderer.” For a better understanding as to what this mean, you’ll just have to go see William for yourself. **For the real Shakespeare veterans, here’s a small note: Though it doesn’t take away from the viewing experience of this production, the chronology of the performance skews slightly from Shakespeare’s timeline. Potentially a misdemeanor in script, plays such as Romeo and Juliet, Richard II, and Macbeth fall out of timely order in the telling of this musical. However, as I stated before, it’s only minute and by the end of the performance, it helps bring William to a satisfying conclusion.
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STAGEBUDDY.COM Even though his works have inspired a myriad of adaptations, the life of William Shakespeare remains a fascinating enigma that has aroused the imaginations of artists all over the world. Using the Bard’s early sonnets to give us insight into who he might’ve been as a twenty-seven year old struggling writer, the multi- talented Jan-Erik Sääf wrote the book, music and lyrics for “William”, a brilliant one-man show produced by Stockholms MusikTeatre. Making its debut at this year’s New York International Fringe Festival, “William” (featuring an English translation by Owen Robertson) stars Jonas Nerbe as Shakespeare. The celebrated Swedish actor relies on his larger than life charisma and exquisite voice to bring the author to life, infusing him with a raw energy that adds urgency to his performance. We probably never thought of Shakespeare as someone who sang, but watching Nerbe sing about the vibrant London theater scene convinces us that it might be the best way to allow this character to express his world view. When the show begins, William is a down on his luck writer living under the shadow of Christopher Marlowe. When he’s commissioned to write sonnets about love by a mysterious patron he must come to terms with either being a writer for hire or a true artist; a timeless dilemma that still plagues the conflicted minds of those who take on any creative endeavor. Torn between duty and pride his life becomes even more complicated when he falls in love with the Earl of Southampton, whom historians have suggested was the “Fair Youth” of his sonnets. Accompanied by a string quartet (Stefani Collins, Sarah Koenig-Plonskier, Catie Longhi, Bridget Pasker) that performs like his own personal Greek choir, Nerbe tackles William and also does humorous impressions of the characters he talks about. He takes hold of the stage, transforming from a jolly pirate to a fool in love. That the actor is able to give us a sense of who this man was without turning the show into a self-indulgent historical conspiracy is testament to his immense talent and also to the thoughtfulness behind every single one of Sääf’s lines which use his sonnets as base but then riff on them with gusto. Shakespeare here is less of a tortured soul and more of a party host devoted to treating his guests to the best time he can and that’s precisely what the actor does as he interacts with the audience in unexpected moments; similarly, just like the best parties, “William” ends at about the point when you’re enjoying yourself so much that you wish there was more to come.
THEATRE REVIEWS LIMITED by David Roberts
William” at the New York International Fringe Festival at Subculture Although there are not as many theories about William Shakespeare’s identity, writing, and sexual proclivities as there are his sonnets, the number of stories about him is formidable. Was he gay? Did he write everything attributed to him? Was he one person or perhaps more than one? Indeed, did this bard even exist? Jon-Erik Saaf attempts to take away some of the confusion and mystery in his musical “William” by having the iconic Shakespeare tell his own story. Based on Shakespeare’s sonnets, the musical allows Shakespeare to relate his experiences of love and intrigue with the “Dark Lady” and the Earl of Southampton. Accompanied by an exquisite string quartet, Jonas Nerbe distinguishes himself as William Shakespeare. Mr. Nerbe shines in his portrayal of the Bard and exposes Shakespeare’s self-doubt, his struggle with writing the sonnets, his arguments with Marlowe, his trips from London and back, his marriage, and his “affairs” with the Dark Lady and the Earl. His performance is authentic, full of charm and wit, and selfless: he is a joy to watch and to listen to. Highlights of the performance were: Mr. Nebe’s singing Sonnet 18 - “Shall I compare thee” has rarely sounded so beautiful and it becomes evident that this sonnet could have been dedicated to a variety of persons as well as to his eternal craft; and his engaging story of the writing of “Romeo and Juliet.” “William” celebrates not only the life of Shakespeare and his work but also consecrates an era of creativity and compassion, and era where “water cools not love” (Sonnet 154).
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