All's Well That Ends Well
By January Riddle
All’s Well That Ends Well, which opened the Old Globe Theatre’s summer Shakespeare Festival 2008, is often labeled a “problem play.” Academics debate whether it is a comedy or a tragedy, saying, like Hamlet—written several years earlier, in 1601—
it doesn’t fit neatly into either genre.
Director Darko Tresnjak seems to know quite well that it’s a comedy, judging by his slapstick, even farcical, interpretation. Ralph Funicello adds his set design to the comedic translation, with silly round velvet couches, a dining table that rises from beneath the stage, and a colossal David statue. Linda Cho’s costumes echo the humor, with soldiers’ hats that don’t match and a ridiculous hairdo for Helena emphasizing the ludicrous. (Although we could do without the cigarette smoking on stage. It doesn’t add anything, and it’s distracting.)
So, there is really no problem in the classification for this witty and engaging fast-paced production. There’s not much surprise in the typical Shakespearean comedic situations involving deceit, disguise, and the character of a clever fool, either. The plot revolves around an ordinary girl-wants-boy situation, and the story is enhanced by some familiar inter-generational differences of opinion and world view. The Countess’ speech to Helena is reminiscent of Polonius’ lecture to Laertes, and Bertram’s immature petulance mimics that of the Prince of Denmark.
The real quandary in this Shakespearean comedy involves the leading lady’s pursuit of the man she wants to marry, leaving us to wonder, “What on earth does she see in him?” Through the ages critics have debated Helena’s character. Some thought her a scheming manipulator; others admired her cleverness and tenacity. In this production, she exhibits a little of both the shrewd opportunist and the determined intellectual.
Helena (conscientiously and nimbly played by Kimberly Parker Green), an educated, caring professional woman beloved by everyone from kings to servants, including her prospective mother-in-law, has this thing for Bertram (well-wrought by Graham Hamilton). Bertram has absolutely no interest in this pairing, even adding an insulting challenge to his refusal. Basically, he’s a self-centered “guys’ guy” who can’t wait to go off to war with his mates, leaving his would-be bride to grieve for the love that never was and his mother to grieve for his recently deceased father. Even mom, the Countess of Rossillion (proficiently shaped by Kandis Chappell), cannot understand Bertram’s frat-rat behavior or Helena’s obsession with her wayward son.
Perhaps Helena’s poor choice of a suitor has more to do with the dearth of eligible men. Besides the elder King of France (a truly sympathetic James R. Winker), a steward Reynaldo (Jonathan McMurtry in a cameo role), and some senior lords and servants, she’s left with the slim pickings that include Parolles, Bertram’s foolish lackey (a hilarious Bruce Turk) and a cadre of puerile, hard-partying soldiers (convincingly acted by a trio of MFA students).
There are comedy’s customary betrayals, too. Parolles betrays his mates to save his life, only to discover that they have betrayed him in a cruel prank. Bertram and Helena betray each other, using the same maid as go-between. Helena betrays those who love her by faking her own death, and Bertram betrays himself by rejecting a fine woman because she is not of his social class.
Nevertheless, the erstwhile and intelligent Helena manages to manipulate Bertram into bed and wedding, thanks to the assistance of a maid, a mother, and a king. She gets what she wants, of course. If there were a sequel, it, too, would be predictable in the unhappiness Helena is sure to find with such a man.
Perhaps that is the problem that the bard intended to showcase. If so, one could argue that Helena’s achievement belies the play’s title.
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All’s Well That Ends Well, plays in repertory with Romeo and Juliet and The Merry Wives of Windsor on Old Globe Theatre’s outdoor Festival Stage in Balboa Park through September 30.
Tuesday through Sunday performances are at 8 p.m.
Tickets are $29-$64, with discounts for students, seniors and active military.
For reservations, call 619-23-GLOBE or email www.TheOldGlobe.org
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