Review of ‘All’s Well That Ends Well’: “Blissful misery”

The Bard’s disputed comedy returns to the London stage in an intimate, candlelit production playing at the Globe’s indoor theatre until the start of the New Year. Guillermo Nazara shares his views on the show, to let us know if, in this new approach on the classic piece, the end is renown, no matter the course.

Love is the biggest b*tch ever. There’s no point in disguising that fact with pretty words. But what’s left to do when our hearts thrive and live for that beguiling drug that, sooner or later, we all dream of being preyed by? Shakespeare’s concise yet wishful title may give us some hope in the end. The journey, though, is quite a different story. Enlisted as a comedy, but fairly regarded as a problem play, its meandering path (where droll buffoonery and sanguinary tragedy build every step of the way) must have probably given a few headaches to directors and audiences alike as for what’s the better approach when trying to convey (and understand) its themes.

Last week, the Sam Wanamaker Playhouse opened its candlelit stage to the Globe’s latest production of All’s Well That Ends Well. Under the instructions of Chelsea Walker, the Bard’s unpredictable tale of grief and laughter has returned in a newly concocted form – where innovativeness and tradition blend in seamless unison to draw out a pungent flavour of poignant truthfulness.

Enhancing both emotional angles with a firm clutch, Walker’s version takes Shakespeare’s so-called genre issues to its own advantage – and eventually turns it into its final solution. Reinforcing, in a rather unapologetic manner, the line separating its humorous content from its more harrowing bits – the production strengthens the complexities of the author’s literary identity by refusing to move in a particular direction. Instead, its changes in tone and style are brought up as savagely bold as it possibly can – not only serving as a continuation to the complex essence of the work itself, but the paradoxical spirit that dwells within real life.

The suggestive interpretations and subtle innuendos are replaced for a blunter portrayal of what the characters’ relationships are supposed to be. And, as such, alleged secret romance between Bertram and Paroles is no longer hinted – but shown in full disclosure with shameless decisiveness; thus, underlining the erotic pulsations that are so inherent to many of the Bard’s works, and which in this case, contribute to amplify the human and psychological verity of the material.

Following the Globe’s tradition of playing original period-inspired underscores, Simon Slater’s minimalistic yet Reinassance-zested compositions are definitely the best effort we’ve heard in that department in a very long time – flaunting exceptional robustness in their dramatic purposes, and amplifying both its cinematic and sentimental allure through the use of an onstage soprano, whose enigmatic presence and quite superb emotional prowess make up for the minor technical flaws she sometimes presents.

In a similar trail, the production’s visuals are another key factor to the blatant success of this montage. Prolonging the ambiance’s historically evocative vibe, Rosanna Vize’s tapestry-themed backdrops make a most vivid emulation of the piece’s era – while simultaneously pointing into a separate reality, achieved through the duality brought by Megan Rarity and Vizen’s seemingly contemporary costumes. Perhaps, a way of signifying the immortality of the Bard’s writing throughout the centuries. Or maybe, just another attempt of heightening the story’s fantastical traits. But whatever the case is, its magic is solid enough for its spell never to be broken.

As for the cast, the entire company boasts extraordinary flair and rapport in their renditions. Exuding a rare breed of magnetism, stemming from the bleak, menacing liveliness of the whole jaunt, the troupe refreshes Shakespeare’s words with impressive ease and dexterity. Among them, a first mention is justly earned by Richard Katz as the King of France, thanks to his absolutely gripping portrayal, evenly combining the wrathful soul of the personage with brilliant hunches of comicality.

On the other hand, Kit Young also makes another memorable appearance in the role of Bertram, oozing great naturalness as well as charisma in his depiction of the misleadingly complicated character. However, the highest praise goes to William Robinson as Paroles – bringing such level of stamina, intricacy, and charisma, his electrifying energy and astounding command of the part ends up taking over every scene he’s in – and haunting those he’s out of.

Acid, stirring, and contentiously penetrating, All’s Well That Ends Well leaves audiences with a sense of bittersweet joy that haunts each and every viewer with unresting grip. Amusingly tragic and eerily funny, The Globe’s most recent take on the Bard’s unresolved piece brings up a new set of lenses to look through his deeply layered exploration of the human soul, without compromising the heart of the source. Whatever route you take, chances are that you will go through a state of confusion. But that’s exactly the point of turning our nature and real-life experience into a theatrical metaphor.

All pictures credit to Marc Brenner.

All’s Well That Ends Well plays at London’s Shakespeare’s Globe’s Sam Wanamaker Playhouse until 4 January. Tickets are available on the following link.

By Guillermo Nazara