As an NSTA representative, I had the distinct pleasure of watching the Wells Cathedral School production of Shakespeare in Love performed on Saturday 6th December 2025. Under the creative vision of producer and director Mr Damian Todres, this senior school production proved to be an ambitious and highly accomplished piece of theatre.
Shakespeare in Love is an enchanting and witty stage play that reimagines William Shakespeare’s creative process. Based on the 1998 screenplay by Marc Norman and Tom Stoppard, and adapted for the stage by Lee Hall, it follows a young Shakespeare as he struggles to write a new play. He falls in love with Viola, a woman who disguises herself as a man in order to perform on stage. Their relationship is ultimately doomed, as Viola is required to marry Lord Wessex and sail to the New World. Heartbroken, Shakespeare transforms their tragic romance into what will become Romeo and Juliet.
As the lights rose on Act One, the audience was immediately immersed in the world of Shakespearean theatre. The Elizabethan-style tiring-house façade, featuring half-timbered walls, three rear entrances and a wooden gallery above, was highly effective. Andy Martin must be commended for this impressive set design, which allowed movable pieces such as Shakespeare’s writing desk, Viola’s four-poster bed and the Queen’s throne to be wheeled seamlessly on and off stage, transporting the audience swiftly between locations while maintaining an authentic sense of period. Atmospheric drumming underscored the opening moments as the ensemble gathered on stage, while actors on the balconies delivered famous lines from Shakespeare’s plays: “If music be the food of love, play on”, “A horse, a horse, my kingdom for a horse”, “To be, or not to be, that is the question” and “We are such stuff as dreams are made on”. Dreams are indeed made of performances such as this.
The principal performances ensured the audience remained fully engaged throughout. Ferdy gave a confident and nuanced portrayal of Will, capturing the character’s romantic idealism and handling the Shakespearean language with assurance. His expression of grief following Marlowe’s death was particularly moving and marked a dramatic highlight. Rosie shone as Viola; from her first appearance, her passion for theatre was unmistakable, and she brought warmth, intelligence and emotional clarity to the role.
The supporting cast were equally impressive. Comedy can be particularly challenging for young actors, requiring precision, balance and strong timing, but the cast rose to the challenge admirably. Ferdy’s Shakespeare was ably supported by Theo as Kit Marlowe, whose sharp delivery and comic instinct complemented the role perfectly. Their partnership generated laughter throughout, with a particular highlight during the Act One balcony scene, where their synchronicity and timing were especially effective. Beatrice’s Queen Elizabeth I was a comedic delight, her clipped delivery offering a striking and imaginative interpretation that stood confidently apart from Judi Dench’s film portrayal. Her bold, almost maniacal characterisation was a brave and imaginative exploration, but one that paid off in spades. Oliver also impressed as Richard Burbage, his performance was marked by confident physicality and a clear understanding of Burbage’s place within the world of the play. Thomas was suitably stiff and unpleasant as Lord Wessex, while Aleksei’s exaggerated portrayal of Ned Alleyn was pitched to perfection, lighting up the stage whenever he entered. His death scene proved a memorable comic moment. Isaac’s John Webster, complete with Cockney accent, was well judged, while Wayland’s comic timing as Henslowe was exceptional throughout. Wayland’s larger-than-life Henslowe was neatly balanced by Olivia’s grounded and passionate Fennyman. Monty’s portrayal of the nervous tailor Wabash was convincingly realised, his stutter handled sensitively and his transition into Shakespearean verse beautifully executed.
The ensemble supported the narrative with skill throughout, whether portraying the Queen’s courtiers or the bustling inn clientele. Their use of non-verbal ensemble work added depth and texture to each scene. Numerous standout moments came from the ensemble, including the highly entertaining Romeo auditions, featuring juggling, beatboxing, handstands, a “worm” dance move and a variety of comic monologues. The rowing boat scene provided another striking visual moment. A simple but highly effective prop appeared to glide across the stage, while Ellie’s Boatwoman added humour through an exaggerated Cockney accent and well-timed physical comedy, providing welcome relief during the heartfelt exchange between Will and Viola. During the Chamberlain’s Men’s performance of The Two Gentlemen of Verona the soft, lilting delivery of “Light is light if Silvia be not seen, / What joy is joy if Silvia be not by” was delightfully contrasted with the exaggerated physical comedy of “Oh my God, it’s a dog!” and the deliberately overplayed sneezing, showcasing impressive range and comic instinct. The appearances of Florrie, the very real dog, were also memorable, with the canine performer displaying a calm and confident stage presence worthy of a seasoned professional!
The production’s creative design elements were consistently strong, from set, lighting and costumes to choreography and music. Louise Cannon’s choreography was entirely in keeping with the period and performed with impressive synchronicity by an ensemble of over twenty dancers in the De Lesseps house and Globe scenes, with forty pupils dancing in the energetic finale. The closing sequence depicting Lord Wessex and Viola’s departure by sea was beautifully and dramatically choreographed. Particularly noteworthy was the live music, which had been adapted, arranged and musically directed by Ernest, a pupil in the Lower Sixth. He was ably supported by Musical Mentor Mr Paul Whitmarsh, a live band of talented pupil musicians, and a resonant solo vocalist who enhanced scene changes and group dances.
Wells Cathedral School’s production of Shakespeare in Love was a creative, dynamic and expertly crafted piece of theatre, balancing comedy, romance, and drama with confidence and flair. The dedication and talent of the cast and crew were evident throughout, from tender romantic moments to energetic comic scenes. It is no surprise that the audience responded so warmly; this was a production to fall in love with.
National School Theatre Awards
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