THEATRE REVIEW

APRIL 2026 | Volume 262

 

I may be wrong but I believe that Metro Theatre’s production of Shakespeare in Love, Lee Hall’s adaptation of the Oscar-winning movie, is only the second time we’ve ever seen the play in our region. Bard on the Beach’s 2019 staging was the first. It’s a beast of a show with 19 actors plus a dog, musicians, sword fights, dozens of Elizabethan costumes, Tom Stoppard’s razor-sharp wit, and many often esoteric references to the Elizabethan theatre. 

Sarah Rodgers’ ambitious Metro production wasn’t firing on all cylinders opening night but the show has very good bones and is bound to tighten up as the run progresses. It features many fine performances, especially Jacob Leonard as Shakespeare, and the complicated story is told with both a sense of fun and sufficient romantic semi-seriousness. It represents another important step in Metro Theatre’stransformation into a serious player in Vancouver’s cultural scene.

We’re in London in the 1590s and Will Shakespeare has writer’s block. He has promised a script to theatre manager Henslowe (Simon Webb) but is making no progress on Romeo and Ethel the Pirate’s Daughter, despite the help of his friend, London’s premier playwright, Kit Marlowe (Akshaya Pattanayak).

Meanwhile, restless young Viola (Cassie Unger), facing an arranged marriage with nasty Lord Wessex (Vincent Keats), aspires to perform onstage despite the law forbidding women actors. Covering her long hair and pasting on a moustache, she disguises herself as Thomas Kent and auditions for Shakespeare, who casts her as Romeo alongside charismatic actor Ned Alleyn (Thomas McLeod) as Mercutio.

Scenes from Romeo and Juliet are interwoven with the star-crossed romance between Shakespeare and Viola, threatened by Wessex and assisted by Viola’s nurse (Liz Connors). Much merriment and drama ensue: a rivalry between theatre managers Henslowe and Burbage (Jordon Navratil), a couple of rousing sword fights, the death of Marlowe, a threat by Lord Tilney (Andrew Wade) to shut down the theatre, and the timely intercession of Queen Elizabeth herself (Chris McBeath). Despite the comedy and romance, Shakespeare in Love, like R&J itself, does not end entirely happily ever after.

The principals are all very fine. Leonard is quick and charismatic as Shakespeare, and his relationship with Unger’s aching Viola is sweet. Simon Webb makes Henslowe adorable, and Connors and McBeath also provide charming veteran performances. Keats’ Wessex is perfectly unlikeable, and his choreography of the sword fights is a highlight. Omanie Elias designed the handsome, functional, multi-level Tudor set and Joelle Wyminga’s costumes work just fine on what must have been a slim budget for a giant costume show.

Special kudos to Toby Verchere and his fellow musicians, Janavi Chawla and Nico Pante, all of whom also play characters. (Pante is a pretty cute Juliet.) The recorder, mandolin, guitar and Verchere’s beautiful singing voice give added value to this funny, entertaining, sometimes moving production.

 

 

 

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