"The Prince" by Abigail Thorn.
Nottingham Lace Market Theatre.

Wonderfully timed to coincide with Pride this week in Nottingham, "The Prince" is a wonderfully modern twist on Shakespeare's characters and plays where transgender characters in his plays realise that they are trapped in their performance and try to escape. Jen and Sam, two trans women, are trapped in a multiverse of Shakespeare's complete works.

On their quest to discover the doorway back to reality they encounter Henry 'Hotspur' Percy, who they recognize as also being trans. Jen and Sam must decide; do they risk losing their way home to help someone who might be like them – someone who does not yet know who they truly are?

Abigail Thorn's story weaves its' way through "Henry IV Part One", "Hamlet" and several others of the Bard's works, providing fun for the audience whether they be Shakespeare scholars or verse virgins. With sword fighting, lesbianism, and disappointed parents, this play is the perfect end to the Lace Market Theatre's current season.

Hotspur, the warrior, is played by Esther Warren. Esther is no stranger to Shakespeare away from the Lace Market Theatre, and it's good to see Esther on stage. A powerful and commanding performance, and Esther knows how to project, probably due to her acting outside with the Nottingham Shakespeare Company.

Lady Kate is played by Maureen Nwabueze. She is shown as the wife of Hotspur with Lady Kate's character evolving to show the importance of women at this particular stage of Shakespeare's story telling. I really enjoyed the change from a loving wife who did everything that her husband bade her, to the strong woman who started to break with Shakespearian convention. The section where Kate learns the word "lesbian" is unexpectedly humorous. Maureen is a new name to me but is a fantastic, and hypnotic actor with a gentle stage presence; one I hope we'll see on stage locally more often.

Sam is played by Ami Veera, another new name and another fantastic find - where have all these new names in theatre been hiding? Sam, who in the real world is a care home worker, wiping noses and bums. She has been trapped in this Shakespearian multiverse for, what the audience can imagine being a while, but has  more of a hold on the situation than Jess, well to start with. With the help of a map, which is in a box, both Sam and Jess can navigate their way through to the portal in this crazy Shakespeare world of play, but when something goes wrong, they slip down the plays list, and further away from getting back to their real world.

Jess Hall plays Jen, who when she realises that she is trapped in the world of Shakespeare's "Henry IV" declares "I bloody hate Shakespeare". A wonderfully hilarious character and the pairing of Sam and Jen are beautifully matched and these two actors create a brilliantly fun chemistry. It's the physical connection between Jen and Hotspur that provides the virtual injection of the "real world" into them, and that is visually portrayed by some imaginative lighting effects, almost like a lightning bolt that goes through the body of the characters. Jess also gets a lot of the comedy lines plus some fun, comic, banter like modernisms, contrasting with the Shakespeare rhythms and blank verse.

Bernard Whelan, who I last saw at the start of the year in "Alys Always", doubles as Northumberland / King Henry IV. There's some nice contrasts between the straight Shakespeare delivery and some natural comic line deliveries.

Prince Hal is played by Nathan Hackett. The Prince is shown engaging in similar behaviors as in the original Shakespeare play – drinking, partying and neglecting his Princely duties – but in this play, his sexuality is a key aspect. The play also presents him as someone who is trying to live up to the expectations of his father and the court, while also grappling with his true identity. Nathan is another new name on the local acting stage but shows a flair for comedy, and some excellent combat and fight stagecraft, and those swords did not sound as if they were lightweight either.

The Earl of Worcester is played by David Dunford, who I've had the pleasure of seeing him act in and direct some classic pieces of theatre at the Lace Market. As with Bernard, it's a nice change to see him play comedy, blended with the serious Shakespeare pieces and characters.

Sam Marshall plays Douglas, the Scottish rebel leader in Henry IV, Part 1. Sam is yet another new name to me and I don't know if Sam is Scottish, but that accent was excellent. Often a Scots accent can go over the top but Sam's has a really soft Edinburgh-esque lilt about it and is completely consistent throughout.

I will say that nothing has been taken over the top or pushed too far. The play highlights transgender people, camp and lesbianism, but none of these subjects have gone over the top and are all completely believable. The characters do not have to be OTT to bring the comedy out because the script itself is wonderfully funny and the mix of modern-day spiel and Shakespeare's iambic pentameter develop their own humour.

Directed by Laurie Owen and Micah Darmola. This pair have created a brilliant and fun piece of theatre, and their experience with directing comedy and Shakespeare melt together deliciously. They have bought together a wonderful cast, along with the Casting Advisors Chris Collins and Lesley Brown, and it's great to see that they have also not just used the tried and tested actors, but have introduced several fresh faces into the cast and to the Lace Market Theatre stage.

Set Design is by Guy Evans with Set Design Consultant Alex Hopkin-Spratt. Simple set designs often work best at the Lace Market Theatre and this set works perfectly. There's a cavalcade of lined centre stage which cleverly is drawn open to reveal the images that are in the map box that Sam has, showing the directions that they have to travel to escape.

Lighting Design is by Nick Gale. I touched on the lighting effects earlier and this really comes into play with the transfer of energy from Jen to Hotspur, and from Hotspur to Lady Kate and the other characters. I won't give away what those effects are but it certainly keeps the audience on their toes!

Sound Designer is Matthew Allcock and, as always, the sound effects are perfectly timed. The original music that is heard in the play is by Rory Williams.

Stage Managed skilfully by Sammy Whitworth who managed to keep the flow of the play smooth.

The props for this production are managed by Ali Lit and Benji Ingali, and there are quite a few to manage. From the glasses for the toasts, trays and plastic pop bottles to the swords, which as I've already stated look suitably weighty, and the smaller knives and weapons.

With this kind of production I already had an idea that the costumes would be apt and classy, and I was not disappointed, and then you find out that Max Bromley is the man behind sorting out the costumes, you can guarantee that they will be the best available.  Dylan Brown is also responsible for this area of the production along with Max. Just take a look at the photos for proof of that.

The fight choreography and weaponry is thanks to John Buckeridge. Nathan, Sam and Esther do not hold back with the stage combat and that in itself straight away causes electricity in the air for this play as you hear the heavy clashes of metal on metal.

Opening night on Monday was sold out, which is a lovely sight. I can also say that I have never heard such waves of laughter from a Lace Market Theatre audience as huge as the one on Monday night.

You may have to take some time to start to understand parts of this play, due to the characters being unaware that they were imprisoned within the boundaries of the play and their characters. Jen depicts this perfectly at the start when she is convinced that she is actually Portia. But it's like having a jigsaw puzzle of baked beans. You are given all the pieces and slowly you start to spot where all the pieces fit and by the end you have the satisfaction of having everything where it should be and a complete picture.

It's a production like I have never seen before, It has some great characters, played by a cast of amazing actors, combining some of the best known lines from the Bard with some brilliantly funny modern day colloquialisms, all with a lovely closing showing that all's well that ends well. Shakespeare has never been so much fun.

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Review: The Prince. The Lace Market Theatre. Nottingham.

Walking into the Lace Market Theatre on opening night, I am expecting something bold—and I absolutely got it. The Prince crashes you into a Shakespearean multiverse: two 21st-century trans dimensional women, Jen (Jess Hall) and Sam (Ami Veera) are trapped in the swirling texts of Henry IV Part I and Hamlet, striving to find their way home—and along the way, meeting Hotspur, a warrior whose sense of identity fractures in real time.

From the moment Jess Hall’s Jen yells, “I bloody hate Shakespeare!” I know this would be no dusty period piece. As a debut play by Abigail Thorn, actor and (better known to me from Philosophy Tube), the script’s strength lies in sharp, modern humour and the way it disrupts the iambic flow. Esther Warren’s Hotspur brings both simmering intensity and flashes of vulnerability, reminding us why this is theatre, not history. Warren captivates me with her ability to switch between the multiple layers, genders and time-periods with ease, hardly off stage, handling swords and Shakespeare with complete mastery.

Set designer Guy Evans, staging is refreshingly simple – portcullis prosarch, drapes, clever creative lighting and poignant projection, with soundscapes that are not distracting from the story, but add a texture of place and time. The tech team should be proud of an opening night without a hitch. Costumes by Max Bromley & Dylan Brown are very effective; the Hamlet ruffs make the transitions instantly clear and the bags Sam and Jens’ carry give visual nods to the real world.

The complexity of weaving two Shakespeare plays in and out of modern commentary is expertly handled by directors Laurie Owen & Micah Aroha Darmola and I am impressed by their use of stillness and playfulness. The audience are transfixed throughout, especially during the fight choreography by John Buckeridge. I feel the ending is open to interpretation, and I’m sure my opinion would be different to everyone around me. I immediately want to see it again to reconsider that last scene.

Jess Hall (Jen) is vibrant, chaotic impulsive and brings humour, giving us highly amusing facial expressions, and is the complete opposite of the more rule-bound Sam, played by Ami Veera. I’m mesmerised by their comic timing and the orchestration of them fighting over the map box, with all the elements of commedia dell’ arte, clowning, some slapstick, and this daftness is the perfect light relief to the serious scene being performed around them.

Nathan Hackett as Hal, is charming and subtly vulnerable, always with a ‘Twink’ ling in his eye. His charm meeting his uncertainty, Hackett has a great rapport with Hotspur and we enjoy their confident performances throughout. Hackett is a master of breaking the fourth wall, in the final scenes.

Bernard Whelan plays both Northumberland and King Henry, both with great command and poignant delivery of the Shakespearean text. He defines authority, duty, and expectation and unwittingly sets up a running joke, based on his duality. I was even giggling about this joke on the way home.

Whelan, along with Sam Marshall, (Douglas) and David Dunford ( Worcester) play the characters who do not realise they are in a play. Combined, they support the storyline and avoid cliches. Dunford gives Worcester a measured persona, and Marshall is a Scottish rogue whose captivity sets much of the action in motion.

A special mention must go to Maureen Mwabueze as Lady Kate. Her grounded presence gives the role a quiet power and emotional clarity.

By curtain call, I feel a palpable sense of community in the room. The cast’s energy, and the idea that “all the world’s a stage”, lands in a way that feels both celebratory and defiant

It’s not often you get a play where Shakespeare and gender identity collide and even less often where it works this well. Brilliantly achieved by The Lace Market Theatre. A Princely production no-less.

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"The Prince" - Lace Market Theatre. Nottingham.

The Lace Market Theatre’s latest production, The Prince, takes everything we think we know about Shakespeare and turns it on its head, with a tale that is in equal parts history, comedy and tragedy – but thankfully with an uplifting ending. The play excellently balances moments of hilarity with more heartfelt speeches, some taken directly from Shakespeare’s work, others from the writer Abigail Thorn. With three trans actors in the leading roles (Esther Warren, Jess Hall and Ami Veera), the play can be seen as an allegory for coming out, and the difficulties that trans people face in trying to discover themselves anew – compared here to an actor taking on a new role.

The play explores the concept of a group of LGBT people who find themselves trapped within Shakespeare’s plays. The explanation of this concept comes about halfway through the first act, with help of a useful projection that allows us to visualise the ways in which these characters can jump from one Shakespeare play to another. The idea of switching between plays is never properly explored though, and The Prince spends most of its time in the world of Henry IV Part I, with a brief detour to Hamlet at the start of the second act. We are immediately introduced to King Henry (Bernard Whelan) and his son Prince Hal (Nathan Hackett), who face rebellion in the form of the Earl of Worcester (David Dunford), Earl of Douglas (Sam Marshall) and Hotspur (Esther Warren). So far, so Shakespeare. And then, all of a sudden, it isn’t.

Serving girls Jen (Jess Hall) and Sam (Ami Veera) speak in regular English and bring the play back to “reality”. Jen in particular is surprised at where she ends up, and confused as to what is going on – Sam has clearly been trapped in this world for a while, and is a little more knowledgeable. Not only does she provide the exposition to explain to the audience exactly what is going on, she also gives us a synopsis of the plot of Henry IV, useful for anyone in the audience who might not be familiar with the play.

Initially, a lot of fun is had with this concept, and Hall and Veera both heavily lean into the comedic aspects, trying their best to stay in character and match the iambic pentameter. Hall’s Jen finds this more difficult, however, eventually breaking her role as she realises that Hotspur is struggling with her sexuality, and that Maureen Mwabueze’s Lady Kate is beginning to question her role as a woman in this world. A very funny scene sees Jen explain the concept of lesbianism to Lady Kate, and there is a recurring motif of a Diet Coke bottle that appears whenever the Shakespearean scene is broken.

Whelan doubles up as Hotspur’s father Northumberland, and various lines from Shakespeare are reinterpreted, as Hotspur’s cowardice at times is referred to as “womanish”, and she is continually commanded to be more manly. Hotspur realises the world is not as it seems when she notices Whelan’s multi-rolling, questioning why her father and the King share the same face. Cue an extraordinary, bizarre scene in which Warren begins to break the set apart and yell expletives at the audience, whilst Whelan and Dunford descend into gobbledegook in place of their usual Shakespearean. It is incredibly funny, unexpected and a true highlight of the play.

The stakes are raised as Jen and Sam realise Hotspur is destined to die at the end of the play, and they set about trying to stop that from happening. Further social commentary is found in the form of Hackett’s Hal, as the disapproval of his father (in the original play, due to the fact that Hal spends too much time drinking with the layabout Falstaff) is reworked into disapproval over Hal’s homosexuality. Hackett is at his best whenever Hal breaks the iambic pentameter and begins ranting to the audience, and it is clear he is having a blast delivering Thorn’s superb dialogue.

The set (Guy Evans) is sparse but serves its purpose, and in the final scene is transformed into something extremely different and appropriate, given the coincidental timing of this play to coincide with Nottingham Pride this weekend. There are several well-choreographed fights throughout (fight choreography courtesy of John Buckeridge), made all the more exciting thanks to Matthew Allcock’s sound design that is sure to get pulses racing. Under the direction of Laurie Owen and Micah Aroha Darmola, the production feels slick, pacy and clear. What could be a confusing concept is easy to grasp, although the ending perhaps leaves one with more questions than answers, a fault of the writing rather than the direction.

This is a fun night of theatre, with lots to enjoy for both Shakespeare and non-Shakespeare fans alike. The cast are all excellent, delivering wonderful renditions of famous Shakespeare speeches (Warren’s ‘To be or not to be’ is nothing less than superb), and creating characters that are easy to root for and fun to watch. Another wonderful success for The Lace Market Theatre.

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Theatre Review: The Prince at the Lace Market Theatre

The Prince, by Abigail Thorn, debuted to rave reviews at Southwark Theatre. Now it's come to Nottingham with a uniquely gay reimagining of the Bard...

If you’ve ever thought Shakespeare could do with more queerness, more chaos, and a healthy dose of self-aware humour, then The Prince at the Nottingham Lace Market Theatre might just be your new favourite thing. Written by Abigail Thorn (of Philosophy Tube fame), this is Shakespeare like you’ve never seen before – turned inside out, dipped in rainbows, and given a firm hug. A mash-up of classic Shakespearean characters, The Prince reimagines the Bard’s world as a backdrop for one person’s journey of trans self-discovery. It’s an unapologetically meta and wildly funny piece of theatre that’s also – at times – painfully heartfelt. That juxtaposition is what makes the show sing.

The standout performance of the night was undoubtedly Esther Warren as Hotspur. Commanding the stage with a presence that was equal parts defiant and tender, Warren delivered a performance that grounded the whole production. Watching her character grapple with identity, expectation and self-realisation was as powerful as it was moving. She brought the heart – and honestly, a few tears. On the comedic front, Jess Hall (Jen) and Ami Veera (Sam) were an absolute delight. Their chemistry with each other and the rest of the cast was a joy to watch, bouncing off one another with impeccable timing and a real sense of affection, frustration and confusion. Whether they were delivering punchlines or simply reacting to the absurdity around them, the duo added warmth and wit to every scene.

Speaking of absurdity – let’s talk about Maureen Mwabueze and Nathan Hackett. Their “crash out” monologues (there’s no better way to describe them, really) were comedic gold. Both actors threw themselves into the sheer ridiculousness of Shakespearean archetypes with gusto, shining a light on how bonkers these characters can seem when pulled into a modern context. The audience was in stitches – and rightly so. And while chaos often reigned supreme, the trio of Bernard Whelan, David Dunford and Sam Marshall brought a surprising stability to the show. In the face of all the chaos occurring on stage, they still managed to deliver Globe-worthy Shakespearian performances, with full sincerity and thespian prowess. I don’t know how they all managed to keep a straight face!

What makes The Prince such a triumph, though, is how it never loses sight of its message amidst the madness. It’s a love letter to those figuring themselves out, those who’ve ever felt out of place, and those still searching for community. Thorn’s script is clever, bold, and tender – reminding us that even centuries-old texts can be reinterpreted in ways that speak to who we are today. The Prince is the epitome of queer theatrics- blending sardonic comedy with heartwarming moments of self-discovery, the trauma of life in the closet, and the strength of finding community and friendship. In the run up to Notts Pride, you owe it to yourself to give this a watch!

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