Bedtrick
London, 1599-1603. Alexander (Sander) Cooke plays female roles in Shakespeare’s company, but she has a secret: she is a woman. To escape an unwanted marriage, she disguised herself and joined a troupe of traveling players, and despite the dangers, she has avoided discovery so far. But when Johnny, her brother and fellow player, suggests she marry the woman he impregnated but refuses to marry himself, she is indignant at his irresponsibility. Johnny, however, remains adamant, and since Frances is a good friend, other friends prove supportive, and alternatives seem worse, they do indeed wed, despite their misgivings.
The relationship between Sander and Frances survives a rough stretch after the infant dies shortly after birth, but this is more than a romantic tale of a (female) marriage of convenience developing into one of love. Not only do we witness the uncertainties of life faced by actors in Elizabethan theatre, but they engage in an insightful discussion of their roles in Shakespeare’s plays. Increasingly, however, the focus shifts to the impact upon ordinary people of the turbulent political events during the dying years of Elizabeth’s reign, particularly the Earl of Essex’s failed attempt to seize power and the uncertainty over the succession.
Most of the significant characters are historical figures, even Sander himself, though making him a woman is Webber’s invention. ‘Bedtrick’ is defined as sex with a partner who pretends to be someone else, as occurs in Shakespeare’s so-called problem comedies. In this case, however, the deception is not between Sander and Frances: ‘the lie is to the world.’
Though Sander is fortunate to find so many sympathetic and influential friends who penetrate her secret (including Shakespeare and the queen herself!), this is an absorbing and credible picture of the world of Elizabethan theatre. Highly recommended.
