Queen’s Theatre Troupe reimagines Shakespeare with confidence and charm in their newest show.
Queen’s Theatre Troupe’s (QTT) production of Goodnight Desdemona (Good Morning Juliet), written by Ann-Marie MacDonald, is a lively, thoughtful, and consistently engaging reinterpretation of Shakespeare’s tragedies. Directed by Gaïa Adjemian, ArtSci ’28, and produced by Olivia Riddell, ArtSci ’28, the show runs in Theological Hall’s Convocation Hall from Nov. 26 to 29, blending seriousness and humour with precision. It kept me absorbed from beginning to end, carried by a sharp directorial vision and comedic performances.
It follows Constance Ledbelly, played by Olivia Humphries, ArtSci ’28, a shy assistant professor of English literature at Queen’s University who accidentally falls into the worlds of Othello and Romeo and Juliet. As she moves through each play, Constance inadvertently alters the storylines, disrupting the tragic endings and revealing new interpretations of Shakespeare’s famous heroines Desdemona, played by Kaitlin Forest, ArtSci ’29, and Juliet, played by Charlotte Fursier, ArtSci ’28.
“This is kind of a feminist and comedic retelling where she interacts with the Shakespearean characters and goes on a journey of self-discovery and self-reflection,” Adjemian said in an interview with The Journal.
The cast excels at balancing heightened Shakespearean language with modern comedic timing. Characters lean into their larger-than-life qualities without losing emotional grounding. The performances are intentionally over the top in moments, and every actor commits fully, allowing the humour to land while maintaining the story’s underlying sincerity.
While the production’s staging is minimal—featuring a mostly bare stage with a few staircases and simple lighting cues—the stripped-back design places full attention on the actors and their delivery, a choice that highlights both the strength of the cast and the writing of the script itself. “I really wanted to work with the actors to make sure they fully understood what they were saying so that hopefully the audience could understand,” Adjemian said.
One of the major creative changes was expanding the play’s original single chorus member into three performers. “I wanted each of the three chorus members to represent the three main characters, through their costumes,” Adjemian said, describing how the chorus mirrors Constance, Juliet, and Desdemona through coordinated colours and accessories. The choice gives the ensemble a larger presence and strengthens the transitions between the play’s shifting worlds.
Producing the show brought its own obstacles. Riddell spoke about securing Convocation Hall amid departmental uncertainty. “There was a lot of confusion as to who had authority over facilities, we were kind of stuck in the dark,” she said. The venue, only confirmed about a month ago, ultimately supports the show’s scale. “Shakespeare tends itself very well to the big proscenium theatre,” Riddell said in an interview with The Journal.
Despite last-minute stress, the production grew rapidly in its final stretch. “The progress was crazy,” Adjemian said, reflecting on tech week. Riddell added she hopes audiences see “the importance of student theatre” and what a fully student-run club can achieve.
QTT’s Goodnight Desdemona (Good Morning Juliet) succeeds as a vibrant, intelligent, and deeply committed production. With its sharp comedy and heartfelt performances, the show offers a fresh look at familiar stories.
Corrections
A previous version of this story misspelled Olivia Riddell’s last name. Incorrect information was published in the Nov. 28 issue of The Queen’s Journal.
The Journal regrets the error
Tags
convocation hall, Queen's Theatre Troupe, Shakespeare, Theological Hall
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