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All’s Well That ends Well – and it Really Does
By Lauren Yarger
A production of “problem” play All’s Well That Ends Well usually provokes a, “Really? Why that one?” sort of response from William Shakespeare lovers. It, along with some others, most often Measure for Measure, also being produced this summer as part of The Public Theater’s annual Shakespeare in the Park offerings at the Delacorte Theater in Central Park, defy classification, hence their "problem" designation. Are they dramas or tragedies? And did some of the character development get lost through the centuries? It sure seems so when you sit down to read one of them.
Director Daniel Sullivan’s interesting Edwardian interpretation proves, however, that while troupes may have been trying to make this play work since it was written in the early 17th century, this version might finally be the one that let’s us sit back, feeling that all really has ended well.
The period update (beautifully visualized by Jane Greenwood’s costumes) works better than some other modernized versions of Shakespeare. The plot of a woman’s unrequited love and the means she uses to win the object of her affections isn’t out of place 300 years later. Scott Pask’s elegant, yet simple set doesn’t overbear and Tom Kitt’s original music sets mood, rather than the time frame. Peter Kaczorowski expertly lights the scenes and once again Acme Sound Partners shows us how to do outdoor sound.
Instead of just being something aesthetically pleasing, this production’s real satisfaction comes from excellent performances that bring depth to characters not always achieved and allow us to enjoy the strange story as well.
An excellent Annie Parisse plays Helena, a lowly born woman, who falls in love with Bertram, Count of Rousillion (André Holland). Usually, she appears desperate -- not a lot of reason is given for why she is so obsessed with Bertram, who isn’t such a great guy and, who for the most part, has been like a brother to her when Helena is raised by his mother, the Countess (Tonya Pinkins). Parisse, however, makes her determined instead of desperate. We don’t ask why, we just know that she can’t help how she feels, so we understand, if possible, her bizarre actions.
The daughter of a physician, she miraculously cures the King of France (John Cullum) and as her reward, claims Bertram’s hand in marriage. Before he is forced to consummate the marriage, Bertram flees, on the advice of his companion Parolles (a very funny Reg Rogers), to war. Helena fakes her death and pursues him to Florence where he courts Diana (Kristen Connolly). When Bertram arrives for a romantic liaison, Helena takes Diana’s place and consummates her marriage. There’s more to the story, but I won’t exactly be giving away the ending if I say the title speaks for itself.
Again, all the performances shine, with Pinkins creating a regal and likable countess and Cullum making an excellent morph from a resigned man on his death bed to a monarch wielding newfound power and authority. Also standing out are Dakin Matthews as old Lord Lafew and David Manis as the clown Lavach.
All’s Well That Ends Well runs in repertory with Measure for Measure at the Delacorte through July 30. Tickets are free and are available on the day of the performance (lines form early and most shows are sold out, so plan ahead). The Public also offers a daily online lottery for tickets. On the day of a show, users can log on to http://www.shakespeareinthepark.org/ anytime between midnight and 1 pm to register for that evening’s performance.
Virtual Ticketing recipients are chosen at random to receive tickets, not in the order requests are received. Additonal ticketing information is available as well. Visit For ticket information and performance schedule, visit http://www.shakespeareinthepark.org/ or call 212-539-8750.
All performances are at 8 pm. The Delacorte Theater in Central Park is accessible by entering at 81 Street and Central Park West or at 79th Street and Fifth Avenue (turn left opposite the Metropolitan Museum of Art).
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No notes. Enjoy.
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