We can conclude through this evidence that Widge would be a small boy for his age and very wiry and thin.

Widge thinks that Mr. Shakespeare has an ill-tempered disposition and a tendency to be difficult. 

In Chapter 16, Widge has an opportunity to observe Mr. Shakespeare while the latter is getting ready to play the part of the ghost in Hamlet. Both Widge and Mr. Shakespeare are in the tiring-room (or the theater's dressing room). Mr. Shakespeare is dressed in armor and "touching up his ghostly white makeup." The effect is startling to Widge, who can't help staring at Mr. Shakespeare in the mirror. 

After Mr. Shakespeare puts the finishing touches on his makeup, he proceeds to stare into the mirror. As far as Widge can tell, Mr. Shakespeare doesn't appear to be focusing on his appearance or anything in particular. Instead, the playwright's faraway expression hints that he is focused on other matters. Widge speculates that Mr. Shakespeare may be thinking about his next play. 

Mr. Shakespeare soon catches Widge staring at him, and he verbally reprimands him. Widge is embarrassed when Mr. Shakespeare questions his ability to do his job well. Later, Widge discovers that Mr. Shakespeare is prone to melancholy and impatience.

Widge is a slight boy, which might be explained by a lack of nutrition in his childhood. The orphanage, according to Widge, never had enough food to go around.

According to the head of the orphanage, he looks like a pigwidgeon. This means that he's small or slight. There's not much to him. This name stuck with him throughout his life and is why he's referred to as Widge. This seems to indicate that he hasn't gotten much larger even with better opportunities and more food.

It seems like he has no major noticeable features. It's easy for him to fly below people's notice. In the first chapter, he thinks to himself that he's content to be a lowly prentice because the man doesn't appear to notice him at first. Nothing about him is remarked on as standing out.

On the cover of the book, Widge has dark short hair with messy bangs, wide-set eyes, and pale skin. However, it's possible that the cover art doesn't picture Widge the way the author intended.

Widge, the protagonist of Gary Blackwood's The Shakespeare Stealer, is a fourteen-year-old orphan boy living in Elizabethan England who was born in 1757. Physically, he is described as having been a "small and frail" child, which is how he got the name Widge, which is short for "Pigwidgeon." His small size is implied to have been caused, at least in part, by a lack of nourishment, as the orphanage in which he grew up rarely had enough food to go around. While not much else is stated about Widge's physical appearance, the reader is given some information about his typical manner of dress. Widge's very few possessions in the world include a linen tunic, woolen stockings that are solely worn for church, and "an ill-fitting sheep skin doublet handed down from Dr. Bright's son."

Widge never did quite steal the play, although he came very close. He transcribed the whole play over two performances in Dr Bright's 'charactery' but the notebook was stolen from him as he left the second performance.

He came close to taking the play book when he was locked in the property room, as there was opportunity when the door was unlocked. He chooses not to.

Widge could also have ignored the liaison with Nick and Falconer, but he chooses to reveal his own past to thwart Falconer's plan. He also takes the play book from Falconer's saddlebag as he fought with Mr Armin.

As Widge learns the difference between right and wrong, and the value of loyalty and frienship, he has no need or desire to take the play.

It's chapter 10 of The Shakespeare Stealer, and Widge has returned to the Globe Theatre to search for his pad. On a previous visit to the theatre, Widge had used the pad for writing down missing portions of the Hamlet script in code.

But in the aftermath of a fire, with everyone rushing for the exits, someone stole the pad from Widge's back pocket, which means that he has to go back and look for it. Widge doesn't want to do this, but under the circumstances, he has no choice. If he doesn't retrieve the pad, he'll have to incur the wrath of Falconer, a violent man who once killed someone for calling him a name.

So Widge starts snooping around behind the stage at the Globe to see if he can find the lost pad. All of a sudden, he's interrupted by a large, brawny actor by the name of Thomas Pope, who catches him red-handed. Widge thinks about making a run for it; after all, Pope is an old man, and Widge reckons he could outrun him. But Pope's considerable brawn, not to mention his firm, inescapable grip, make him think better of it. For now, Pope is Widge's captor, and there's not much that the young lad can do about it.

In Gary Blackwood’s historical novel The Shakespeare Stealer, Widge’s wallet, described as worn leather, was one of his few possessions.

All I owned was the small dagger I used for eating; a linen tunic and woolen stockings I wore only on the Sabbath; a worn leather wallet containing money received each year on the anniversary of my birth—or as near it as could be determined; and an ill-fitting sheepskin doublet handed down from Dr. Bright's son.

In chapter 4, he is on his journey with the stranger, who we find out later is named Falconer, and stops in Leicester. Tired from walking, he’s shown to the garret (or attic) and quickly falls asleep.

When he wakes up, Widge realizes that his wallet is missing. He knows that it was most likely the stable boy who took the wallet, but he also knows not to mention it.

Later, in chapter 12, Widge is looking for the lost script. He realizes that whoever stole his wallet took it for the money (or farthings) but only received the script, which would not be useful for anyone else.