The latest production of Shakespeare’s ‘All’s Well That Ends Well’ at the Old Globe has struck a chord among audiences, evoking numerous parallels with other significant works by the playwright.
Central to the narrative is a king whose impulsive decision sets the story’s events into motion, reminiscent of King Lear’s tragic plight.
Moreover, the character of Helena bears similarities to those experiencing a dramatic return from despair, akin to themes found in ‘Much Ado About Nothing.’
Bertram, portrayed as a boastful coward, echoes Falstaff from the Henry plays, especially in his subsequent disgrace that invokes memories of Malvolio from ‘Twelfth Night.’
The stage design contributed to this sense of familiarity, featuring sky blue columns, stairs, and balconies adorned with soft, puffy clouds, creating an airy, dreamlike environment rather than a grounded setting.
This ethereal ambiance complements the nonsensical portrayal of the conflict between France and Italy, characterized by a bizarre outburst from the Duke of Florence.
Diana, introduced dramatically with stupendous allure, lures attention as she appears almost like a reverse Medusa.
These artistic choices are arguably strategic, as the war appears trivial, serving merely as a backdrop for Bertram’s hasty departure without consummating his marriage.
Furthermore, Diana’s role in the narrative, while seemingly minor, is pivotal as she becomes bait in Helena’s elaborate plot.
Yet, the nature of dreams is inherently fragmented, associating ideas and memories, mirroring the production’s tonal inconsistencies.
Among the performances, Mary Lou Rosato’s depiction of the widowed Countess skillfully navigated the delicate balance between humor and sorrow.
Her steward Rinaldo, exhibiting a serious demeanor, paradoxically evoked smiles from the audience as well.
In contrast, most performances leaned towards either whimsy or gravitas.
The character of Bertram was portrayed with seriousness as a cad, inspiring Helena’s unwavering affection, though both remained somewhat static despite occasional laughter.
Meanwhile, the Falstaff-like Parolles delivered absurdity in all his moments, while Matthew Harris’ portrayal of the Fool was impressive, showcasing sharp delivery and precise movement, yet feeling out of sync with the overall narrative.
This intentional eclecticism was palpable throughout the production, highlighted by choices like a single French accent among the court members and the unexpected presence of an aviator helmet.
In a post-show program interview, director Peter Francis James expressed his ambition to provide a “kaleidoscopic experience” for the audience.
Artistic director Barry Edelstein echoed this theme in his letter, mentioning the play’s line about life being a “mingled yarn of good and ill together.”
The result is a complex tapestry of a production that invites the audience to wrestle with its varied themes.
The play’s title, often dismissed as a lighthearted conclusion to adversity, now looms larger, suggesting a darker interpretation – that perhaps the ends justify the means.
Thus, the Old Globe has successfully crafted a ‘mingled yarn’ that remains open to interpretation, leaving viewers with much to contemplate.
image source from：sandiegoreader
