All’s Well That Ends Well is considered a problem play, and it doesn’t take long to understand why. Billed as a comedy, the show often comes off as more of a drama. Factor in the higher than usual dose of misogyny (even for Shakespeare) and blatant disloyalty, and it’s a hard play to like. Still, with its scaled back staging and fine performances, the Globe makes it work.
Set initially in France, the king (Tom Nelis) is sick and expected to die. Enter Helena (Ismenia Mendes), whose recently deceased father was a physician and left her some potions. She cures the king, but her motives are far more intricate than just healing. Helena is a gentlewoman attending the Countess of Roussillion (Mary Lou Rosato) and feels deep love for her son, Count Bertram (Gabriel Brown). She thinks that if she cures the king, she can parlay that success into marriage with Bertram.
The scheme works at first. The king allows her to choose her mate, but Bertram is not pleased with this arrangement. He marries her but then runs away to fight in Florence. Bertram isn’t Iago-level disgusting, but he sure is unlikable.
The action moves to Florence and tricks beget more tricks. Ultimately, the title plays out, but it’s not really a joyous moment. There’s obviously no chemistry between Helena and Bertram and happiness seems unlikely.
The most interesting, comically potent, pieces are the interactions between Lavatch, the Fool (Matthew J. Harris), Paroles (Barzin Akhavan) and the French courtier Lafew (Arthur Hanket). Lavatch is a loose-limbed rascal, although, he may be the only honest man in the bunch.
Visually, Parolles is a cross between Ignatius Reilly and Monty Python’s Biggles. Lafew is haughty but acute. Their banter is fun to watch. Still, it seems like the show left some of the comedic elements on the table.
Traditionally, Shakespearean comedies at the Globe are big events with lots of music and dancing, but All’s Well is significantly pared back – no percussion or flute or even a stray mandolin. I’m on the fence whether this is a good or bad decision. To be fair, there isn’t a lot to celebrate.
It’s hard to love a play where you don’t really like most of the characters. Still, the Globe gets points for taking on this high-difficulty production. And while it may not be Twelfth Night, it has a great cast and some excellent moments.
