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Ottawa Citizen

Holy Trinity's production of Shakespeare in Love was a graceful blend of wit, emotion, and theatrical charm

Article content Article content Janet Do,Critic St. Mother Teresa High School Article content Parting is such sweet sorrow when the one you love remains just out of reach—divided by class, yet united in soul. Though tender moments must remain unspoken, all the world's a stage for love, loss, and longing in Holy Trinity Catholic High School's stirring production of Shakespeare in Love: The Play. Article content Article content Based on the 1998 Oscar-winning film by Marc Norman and Tom Stoppard, Shakespeare in Love follows a young Will Shakespeare as he battles writer's block. However, when he meets Viola De Lesseps – a noblewoman disguised as a man to chase her forbidden dream of acting – words begin to flow like a river. Their love, daring and drenched in poetry, blossoms despite gender constraints and an arranged marriage, ultimately inspiring the soul of Romeo and Juliet. As passion and poetry intertwine, the play reminds us that true love, like theatre, is full of risk, beauty, and heartbreak. Article content The cast brought the story to life with striking theatricality and emotional depth. Jacob Dylan's Will Shakespeare brimmed with ambition and inner turmoil, expressed through clenched fists, a tense jaw, and bold, persuasive delivery. Dylan's expressive gestures, feather-light touches, and intense eye contact with Viola revealed both poet and lover. By his side, Sophie Mora as Viola De Lesseps and in disguise as Thomas Kent exuded longing and quiet rebellion. Mora's soulful gaze, breathy speech, and fluttering hands captured grief and passion in equal measure. Article content Article content Ryan Groulx's nervous flinching and awkward fidgeting made the character of Philip Henslowe delightfully anxious, while London Cash's Queen Elizabeth I held firm with regal restraint; the clipped delivery, upright posture, and piercing honesty embodied royal command. Article content Article content The technical team transported audiences to Elizabethan England with vivid detail. Sets by Jacob Dylan and Len Morin-Chartrand featured an intricate balcony, a canopied bed, and a crafted boat that added depth to a poignant scene. Lighting and sound by Jonathan Okenwa, Harrison Eckersley, and Victoria Seto Acevedo enhanced the tone with pink hues for romance, dramatic spotlights for tension, and comedic cues that landed with perfect timing. Props by Isabella Mackenzie and Len Morin-Chartrand, such as parchment, quills, and rapiers, added authenticity, with the rapiers especially enriching the choreography of the fight scenes. Costumes and makeup, chosen and tailored by Samantha Clattenburg, Toby O'Connell, Alexx Stecher, Rowan Daley, and Len Morin-Chartrand, reflected the era's elegance and social hierarchy.