From left, cast members Ken Smith, Casey Bowser and Thom Hilliard appear in Butler Little Theatre’s “Book of Will,” directed by Jud Stewart. Submitted Photo

After the death of Shakespeare, two members of Shakespeare’s acting company, The King’s Men, decided to memorialize their friend by publishing a collection of his plays. First published in 1623, “Mr. William Shakespeare’s Comedies, Histories, & Tragedies” has also become known as “The First Folio.”

The two actors responsible for this risky venture are John Heminge and Henry Condell. Of the 36 plays in their volume, 18 had not been previously published, and, as no other copies have since surfaced, we would now have only half of Will’s plays.

We would, for example, be without copies of “Macbeth,” “The Tempest,” “As You Like It” and “Julius Caesar.”

Playwright Lauren Gunderson’s “The Book of Will” tells the story of Heminge and Condell’s love for their deceased friend and their respect for his achievements, as well as William and Isaac Jaggards’ assumption of financial risk in the project.

Director Jud Stewart chooses to tell the tale in an Elizabethan style at Butler Little Theatre. He uses a minimal stage set, a slightly more suggestive use of furniture and props, and much more elaborate costumes. The speeches and dialogues of the characters — as in Shakespeare’s day — truly carry the heart of the narrative.

In some moments one must listen more closely than in others, but on the whole, the actors speak clearly and make the plot easy to follow.

Condell must convince Heminge that the project is within the realm of possibility. The texts of the plays must be located. The wives then prove to be the heroes, locating manuscripts in various unlikely hiding places. Ralph Crane, played by John Henry Steelman, plays the conscience of the project, insisting on authenticity and textual accuracy. The patient Heminge must convince the angry Condell that the only way to complete the project is to make a deal with the devil — the unscrupulous publisher William Jaggard — who had previously sold pirated copies of the plays.

Casey Bowser as Condell, the dreamer, and Ken Smith as Heminge, the practical one, skillfully shoulder the heaviest loads in carrying the play’s narrative.

Amy Dittman plays two roles, one as Condell’s supportive wife and another as the dark lady of the sonnets. Nobody knows for sure the identity of the dark lady who broke Shakespeare’s heart — Gunderson chooses Emilia Bassano Lanier. Dittman plays her as the Grand Dame.

In a similar cameo, Elizabeth Smith, who first plays Heminge’s wise wife Rebecca, shines regally in her second role as Anne Hathaway Shakespeare, Will’s widow. Costumes for both Anne and Emilia are elegant, though their time on stage is brief.

Sami Roth, John’s daughter and mistress of the taproom, functions almost as a Greek chorus, commenting on and contextualizing the action. Matt Leslie as Marcus, the printer’s apprentice, and Joe Szalinski as Isaac Jaggard, the final publisher of record, preside over the barely controlled chaos of the Elizabethan print shop.

Phillip Ball plays Ben Jonson, drunk and struggling with conflicting inner demons: his rivalry with Shakespeare, his respect for his accomplishments, his perceived complicity in his friend’s death and memories of their friendship.

The most hilarious moment of the play is a conversation between Isaac Jaggard and Crane regarding two plays, “Love’s Labors Lost” and “Love’s Labors Won.” Starting with the fact that “Love’s Labors Lost” is extant and “Love’s Labors Won” is lost, their conversation runs a rollicking parallel to Abbott and Costello’s “Who’s on First?” routine.

Some will laugh. Some will cry. Some will do both. It’s a night at the theater, a night to enjoy.

From left, cast members John Henry Steelman, Casey Bowser, Matt Leslie and Ken Smith appear in Butler Little Theatre’s “Book of Will,” directed by Jud Stewart. Submitted Photo